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妹妹问姐姐这个周末一起去看电影，但是姐姐

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妹妹问姐姐这个周末一起去看电影，但是姐姐告诉妹妹现在的电影票越来越贵了，于是她们决定一起去租录影带然后在家里看。妹妹说路口有一个新开的录影带出租店叫包你好看。当她们走进店里的时候。店员告诉她们会员可以有折扣。姐姐问店员他有没有新一点的带子。店员说有但是要在三天以内还不然要扣钱。姐姐说她想要租动作片。但是妹妹说她喜欢看文艺爱情片。最后她们决定先租爱情片然后下次在租喜剧片。

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哥哥正在看着篮球比赛。弟弟在抢遥控器因为

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哥哥正在看着篮球比赛。弟弟在抢遥控器因为他不想看篮球赛。哥哥说比赛还没有完，不可以转台。但是弟弟说现在是广告时间，他想要看动画片。哥哥不准弟弟换因为是他先看电视的。弟弟告诉哥哥等下看新闻就知道哪一队赢了。哥哥把遥控器抢回去并告诉弟弟动画片不好看因为他以前看过。因为哥哥的语气很凶，弟弟就妥协了。最后弟弟决定先让哥哥看完篮球赛，然后他在看动画片。

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小高打电话给行遍天下旅行社，一位小姐接了

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小高打电话给行遍天下旅行社，一位小姐接了电话并服务了他。小高问她这个月有没有去欧洲的旅行团。小姐回答有很多个不一样的行程他可以选择。小高说他已经去过德国了，他现在想去意大利因为那里的人很浪漫，也有很多古迹可以参观。小姐告诉小高，意大利是一个很有特色的国家，他们有一个十五天的团去法国和意大利。小高问消费高不高。小姐说跟别的旅行社比起来，他们的是最便宜的。小高最后决定加入这个旅行团因为是在二十人以下。小姐把行程表发了个小高。

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【NBA】Golden State Warriors vs OKC Thunder - Full Game Highlights  Nov 22, 2017  2017-18 NBA Season

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Europe Travel, Travel Europe, Europe Tours, European Tours, European Vacations

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Europe Travel. Search our comprehensive list of European vacations, including escorted Europe tours and European river cruises, as well as independent European tours.

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台生在问家明关于暑假的计划。台生问家明他

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台生在问家明关于暑假的计划。台生问家明他暑假想去哪里旅游。家明说他可能去东部，因为那里听说很有趣。但是台生说他想要待在家里。家明问他有没有去过花莲海边因为那里很漂亮，很适合旅行。台生说他去过很多次了。家明告诉台生他想放暑假的时候去，但是他不知道那里住宿怎么样。台生告诉他那里旅馆很多，价钱也不贵，但是他需要预定房间因为放假的时候人会很多。台生说如果旅馆订不到，可以选择去住青年活动中心，因为价钱更便宜。台生告诉家明，台北离花莲不远，他可以开车去也可以坐飞机去。但是最好选择坐火车去，因为又舒服又便宜。台生说花莲的天气比台北的好，所以很适合旅行。

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小张和老马在办公室里讨论关于他们家庭周末

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小张和老马在办公室里讨论关于他们家庭周末的一些聚会和活动。老马问小张他在周末的时候一般做什么。小张说他在周末平常都跟女朋友去打保龄球，溜冰，慢跑。偶尔也在家下下棋，和打电动玩具。老马问小张他们是不是很少有户外活动。小张说也不是，主要要看时间和天气，如果允许的话，他们会去爬山，烤肉，和海边游泳。老马告诉小张，他这个周末要跟他太太一起去健行，不知道他们想不想一起去玩。小张说可能不行，因为他要跟他的女朋友一起去打网球和KTV。小张问老马他不是这个周末要去钓鱼吗。老马说不去了，要带孩子去爬山，因为老师要求需要让孩子们认识一些花草树木。小张说最近天气都不错，他会问问他女朋友的意见，如果她愿意的话，他们可以一起去。他们决定在礼拜六的早上七点在火车站门口集合。如果有什么改变和其他事情的话，他们会用电话联系。

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小张，小李，小高，和老王组织了一个团队一

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小张，小李，小高，和老王组织了一个团队一起去露营。在走路的是时候，小高抱怨他们走的太久了，为什么还没有到。老王告诉他忍耐一下，很快就到了。他说走这么久是因为他们走的是一条比较平的路但是比较长。到了目的地之后，小高对其他人说，他包包里的水果好重，现在终于可以放下来了。小李说他背的锅和罐头也一样很重。老王和小张决定一起搭帐篷，小高准备生火，小李去提水。小高打开了收音机因为他想边听音乐边生火。小张告诉小高，他这里有一个很好的录音带，不如就听这个吧。因为小高忘记带火柴了，老王吧他的打火机借给他用。老王差一点把水打翻了，因为小李把水放在了他的身后。小高告诉他们，火已经生好了，可以放面了。但是老王叫他先把背包里的青菜拿出来洗一洗，这样可以一起煮了吃，他叫他们把睡袋和手电筒找出来。

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包先生的工作很忙，所以很少有时间陪包太太

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包先生的工作很忙，所以很少有时间陪包太太。但是有一天晚上，他的电脑送去修理了，所以才有了时间陪包太太。他们一起去逛夜市了。包先生说他记得包太太很爱吃小吃，然后夜市有很多小吃摊可以让她选择。包太太说她每一家都想尝一尝，所以她决定先从炒米粉吃起。在那家店旁边，有一些人在摆地摊卖衣服。包太太说等他们吃完了，她想去看一看现在流行的衣服，也许可以挑到一件合适的。但是过了一会，包太太发现那边有很多人，想过去看看。他们一起走了过去。包先生说他们正在玩游戏，他也想玩一下，说不定也能得到奖品。但是包太太对游戏没有兴趣，于是她选择去了算命的摊子。在包先生开始玩游戏前，突然想起他约了一个美国的客户通电话。所以他去取车和带包太太回家了。

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书宜和新雨一起来到了一个酒馆里坐一坐。新

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书宜和新雨一起来到了一个酒馆里坐一坐。新雨告诉书宜这家酒馆非常的有名。但是书宜说她没有来过因为她一般都去啤酒屋，很少来西式酒馆。新雨说她经常来，特别是考完试的时候因为她很喜欢这里的气氛，给人一种很轻松的感觉。书宜同意新雨的看法因为人们都在喝酒，打牌，和跳舞，也没有别的人来管。新雨说那里还有人在打撞球和丢飞镖。她们决定先喝点东西在过去玩。书宜问这里有什么推荐的酒。新雨说那边有位调酒师，他的技术非常的厉害，可以调出任何的酒。但是书宜还是没办法决定点什么酒。于是新雨推荐了蓝色夏威夷。最后她们点了两杯酒和一些下酒菜。书宜听见了一首好听的歌，但是不知道歌名，所以问新雨这是什么歌。新雨说这是现在最红的歌叫做你是我的太阳。新雨说如果你打开收音机，现在播放的不是这首歌就是王菲唱的歌。

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© 2025 Economic Development Partnership of North Carolina.

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In my opinion, I thought Charlie Chaplin was an interesting man. He didn't want people like his fans to know who he was, so he had a fake identity. To protect his identity, he wore heavy makeup, so no one would recognize him.
在我看来，我认为查理·卓别林是一个有趣的人。 他不希望像他的粉丝那样的人知道他是谁，所以他有一个假的身份。 为了保护自己的身份，他穿着浓妆，所以没有人会认出他来。

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After reading this article, I realized how technology is controlling our lives. We tend to use it on a daily basis and we don't really notice that. Artificial intelligence is everywhere, we are surrounded by it. Almost everything we do involves artificial intelligence.
读完这篇文章后，我意识到技术如何控制我们的生活。 我们倾向于每天使用它，我们并没有真正注意到这一点。 人工智能无处不在，我们被它包围着。

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为什么这么多人相信中国神话?

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为什么这么多人相信中国神话?

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This article was interesting because it made me question myself why do people believe in Chinese gods and goddesses. It's fascinating how there are over 1000 gods and goddesses. Modern people today still hope and pray to these gods and goddesses.
这篇文章很有趣，因为这让我质疑自己为什么人们相信中国的神灵和女神。 这是如何有超过1000神和女神迷人。 今天的现代人仍然希望和祈祷这些神和女神。

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Family Video | New & Used DVDs, Blu-Rays, Games | Buy Online | Family Video

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We are the largest movie and game retail chain in the U.S. offering blu-rays, dvds, and video games. Great selection, great prices, and great customer service!

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Taroko National Park is without a doubt the most popular destination for tourists in Hualien. The mountainous scenic area is home to an abundance of flora and fauna and houses many scenic walking and hiking paths. Because of its geographical position, expect the climate at Taroko to be wet and mildly chilly all year round.

Exploring the natural haven of Taroko, one will find plenty of breathtaking scenery of springs, rivers and picturesque hills. Sights not to be missed in Taroko include the Eternal Springs Shrine, Swallow Grotto and the Tunnel of Nine Turns.

Being an area surrounded by natural marble, be sure to grab some souvenirs made from the natural stones found in the park before you leave!

If you want to find out more, why not book a tour that will let you explore Taroko with a professional guide to accompany you.

Private Tour: Taroko National Park from Hualien City

Price: From 91 USD

Duration: 8 hours

2. Admire how the sea and sky merges at Qingshui Cliff (a.k.a Ching-Shui Cliff)

Located around the southern part of the Suhua Highway is Qingshui Cliff, a collection of coastal cliffs overlooking the Pacific Ocean. There is a scenic viewing area along the Suhua Highway where most tourists will make a stop at on the way to Taroko National Park where one can easily spend close to half an hour at.

Complete with a viewing pagoda for a better vantage point, to say that the view here is majestic may well be an understatement. Many aspiring photographers can be found here taking advantage of the wonderful scenery where on days with perfect weather conditions, the crystal blue water of the Pacific Ocean seems to just disappear into the sky. Or is it the other way round?

3. Take a relaxing break at the Qixingtan (a.k.a Chishingtan) Scenic Area

The last of the natural scenic areas on this list, the Qixingtan Scenic Area (or beach) overlooks the Pacific Ocean and is one of the most beautiful beaches in Taiwan.

Famous for its half-moon shaped gulf, Qixingtan Beach provides a lovely, serene area for visitors to relax and unwind at for a typical day at the beach. In the distance, you can see the Qingshui Cliffs amongst the clouds in the sky in a perfect blend of natural artistry. Around the beach, there are food and souvenir vendors selling their wares and there is also a bicycle trail for those who would like to enjoy a breezy ride.

However, do note that swimming is not allowed and is actually extremely dangerous due to the rough waves at Qixingtan.

4. Embark on an epic food trail along Zhongshan Road

I think it's rather safe to say that every traveller loves food and that for most travellers, going on a food hunt in a new city is almost as certain as the sun rising in the East. Well, foodies will not be disappointed by what's on offer in Hualien and the good news is that the best of the best can all be found on Zhongshan Road, the busiest road in Hualien City.

I'm confident that you'll be spoilt for choice as you travel along the length of Zhongshan Road, but just to help you start off on your gastronomic adventure, here are two must-visit eateries: Gongzheng Baozi, which is famous for their *xiaolongbao *(steamed mini meat buns); and Mr. Goose, THE place in Hualien for delicious goose meat (cold-cuts, not roasted). Bon appétit!

5. MORE food at Dongdamen Night Market

Continuing along the trail of Zhongshan Road, you will find a huge night market at the eastern end of the busy road. Known as Dongdamen Night Market, this newly established area houses an extensive variety of shops and stalls, some of which are famous stalls that have relocated there from other night markets.

Needless to say, food is the number one attraction here with many stalls selling Taiwan's most famous street food such as crispy fried chicken chops, grilled meat, fried ice cream and much more! You can also find several carnival-type game stalls creating a fun atmosphere.

One stall that you will not forgive yourself for missing is the grilled meat stall called Di-Yi-Jia-Kao-Rou-Chuan, one of the most popular grilled meat stalls around. You'll know it by its red neon sign and more tellingly by the fact that it's the only night market stall which operates using a numbered coupon system.

6. Catch a local performance at Dongdamen Night Market

While you're snacking on some delicious fried chicken or trying to shoot down plastic bottles with an air rifle at Dongdamen Night Market, you might suddenly be greeted by the harmonious musical sounds of the locals.

Yes, it's quite a common trend for locals to perform at night markets in Taiwan and more so in quaint towns like Hualien County. Most of the time, the performances are done by the aboriginal people of the city in an effort to raise money for community projects. Friendly, talented and heart-warming, these performances often captivate those who throng the night market and make for an experience that is hard to forget.

7. Stock up on mochi products

Although mochi is traditionally a Japanese culinary invention, it is one of the flagship products in Hualien. And there is an enormous spectrum of mochi products that can be found in the city, with many outlets along Zhongshan Road specialising in such products.

However, by my own recommendation, do pay a visit to the Jota Food Enterprises factory (most tour buses will stop by here), a mochi manufacturing facility which also doubles up as a sort of 'mochi mall'.

You can find almost any imaginable mochi flavour and variety, including coffee mochi cookies and matcha mochi ice cream, all of which make for great souvenirs!

A true gem of the east coast

With so many wonderful things to do and so many picturesque views to take your breath away, Hualien is no doubt a travel destination which holds its own against Taipei.

It is highly recommended to visit Hualien in spring as that is when the cherry blossoms bloom and the county is at its prettiest (although, in my opinion, it's pretty all year round!)

So, what are you waiting for? If you're visiting Taiwan anytime soon, you simply MUST visit this charming place, a true gem on the east coast of Taiwan!

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7 Things To Do In Hualien County, The Gem Of Taiwan's East Coast

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Taroko National Park is without a doubt the most popular destination for tourists in Hualien. The mountainous scenic area is home to an abundance of flora and fauna and houses many scenic walking and hiking paths. Because of its geographical position, expect the climate at Taroko to be wet and mildly chilly all year round.

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Round One Entertainment Inc. | Round1 is a state-of-the-art entertainment company offering fun the whole family can enjoy.

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For many people, especially those from big cities, camping is one of the greatest ways of enjoying the great outdoors. Just you, your friends and nature, far from all the crowds, daily stress and working duties. But as relaxing as it sounds, camping can easily turns into a natural nightmare.

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After a day spent wandering wooded paths, admiring breathtaking views, and dipping your toes into a crystal clear creek, you huddle around a campfire to look up at the glowing stars, crack a beer, and enjoy a some s'mores- ahh, peace and quiet. Then you zip up into your tent for a few ( mosquito-free) hours and wake to the faint hint of early morning sunlight and the sweet sound of birds chirping in the distance. This is what camping is all about.

In honor of the National Park Service's 100th birthday, we rounded up the best places to camp in the country. You'll learn the coolest features of each natural wonderland, how much it costs, and the best time of year to visit. So what are you waiting for? Find your park, then grab your tent, bear-proof cooler, and a few friends for a great escape from the hustle and bustle of everyday life.

The Northeast

The Mid-Atlantic

The West

The Mountain States

The Midwest

The South and Southwest
Note: All cost and camping information is for individual, private, small groups. Rules vary by park, and more information is available on each park's website. The Find Your Park movement celebrates the 100th anniversary of the National Park Service and encourages everyone to get out there and find their park. Originally published June 2013. Updated September 2016.

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The 36 Best Places to Pitch a Tent in the U.S.

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After a day spent wandering wooded paths, admiring breathtaking views, and dipping your toes into a crystal clear creek, you huddle around a campfire to look up at the glowing stars, crack a beer, and enjoy a some s'mores- ahh, peace and quiet.

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626 Night Market is the original and largest Asian-themed night market event in the United States, featuring hundreds of food, merchandise, crafts, arts, games, music, and entertainment attractions in an epic festival that appeals to all ages.

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1369 reviews of 626 Night Market "Parking wasn't as much of a hassle as I expected. If you'd like, you can show up when it opens to get a good spot, then hang out at the adjacent mall for a few hours till it cools down a bit (it was over 100...

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Paper Tiger Bar - Koreatown - Los Angeles, CA

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60 reviews of Paper Tiger Bar "This place was an absolute gem! I can not say enough about this place. Was here over the weekend celebrating my wife birthday and it was perfect. First their drinks are great. They have a full bar but also offer some...

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查理·卓别林是一个穿着长裤和安哥拉毛线衣

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查理·卓别林是一个穿着长裤和安哥拉毛线衣的矮小男人。他有着一张被晒黑的脸，小小的耳朵，和灰色的眼球。他的黑色，半月形的眉毛和有趣的胡子都是充满着象征的。查理·卓别林对他的粉丝隐瞒了他真实的身份。他会隐藏着他的身份在加州漫步。当他在加州徘徊的时候，他的存在出现在了报纸里。
Charlie Chaplin was a short man that had a tanned face, small ears that stuck to the side of his face, and gray eyes. He had half-moon eyebrows and a funny toothbrush mustache that would become iconic and the mustache would usually represent him and portray who he was as a person. He would often conceal or hide his true identity from his fans, which means he would wander around California with a concealed identity. As he wandered around in California he would appear on newspapers and people would want to see who he was and find out about his true identity since he wandered around with a fake identity.

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A new double LP of the CITY LIGHTS soundtrack is now available as part of the collection of Chaplin film soundtrack vinyls we are producing in collaboration with [PIAS] France. This deluxe edition includes two 180g vinyls (in full mono), rare bonus materials and a 24-page booklet illustrated with photographs and documents from the Chaplin Archive.

The new 4K restoration of A WOMAN OF PARIS has just been released on blu-ray and DVD by POTEMKINE films in France.

This exciting edition includes a recently recorded soundtrack based upon Chaplin's 1976 score for the film and on a selection of his 1952-1969 composition sketches, restored, orchestrated, and conducted by Timothy Brock. According to Brock, "Over the course of many weeks I aurally transcribed what Chaplin was working out on the piano, and identified about 14 finished compositions and about 20 un-finished, or incomplete, musical ideas. It is these pieces, in conjunction with some of the 1977 score, that make up the new posthumous score, 100% composed by Chaplin. I developed the new score as best I could in the Chaplin earmarks and idioms, and orchestrated it in the model of CITY LIGHTS, which was Chaplin's earliest personal attempt at orchestration, some 8 years after A WOMAN OF PARIS." Recording by the Orchestra Città Aperta. Audio Post Production by l'Immagine Ritrovata.

Bonus materials:
- Introduction by David Robinson (5')
- Chaplin Today: A Woman of Paris - Documentary by Mathias Ledoux with the participation of Liv Ullmann. (27')
- Presentation of rare archives with commentary by Arnold Lozano of the Chaplin Office (9')
- Outtakes
- United Artists signature archival footage

Professor Lisa Stein Haven takes us back to The Early Years of Charlie Chaplin, her latest book just released by White Owl (an imprint of Pen & Sword Books).
Charlie Chaplin's career has been described, critiqued, and scrutinized. There are book-length studies on Chaplin's music hall career, his career at Keystone Studios and the Mutual Studios. Somehow, his tenure with First National, however, has been largely neglected, even though it was during this several-year contractual time period that Chaplin built and occupied his own studio for the first time, that he attempted and succeeded in filming a comedy feature (The Kid) and that he helped to set up United Artists, an organization that protected the salaries and creative freedom of actors in Hollywood. This period in Chaplin's story is especially interesting because such landmark moments are accompanied by Chaplin's first marriage and divorce, the death of his first child, his friendship with French silent film comedian Max Linder , World War I and the role he would play in it, and the production and release of several unsuccessful films that marked Chaplin's first creative blockage - one that threatened his future career.

This book discusses the transitional periods just before and after the First National contract, as well as the all-important period satisfying it. Archival evidence provides most of the support for the book's assertions, from the Chaplin archive (property of Roy Export, digitised by Cineteca di Bologna, Italy), and the personal archives of other individuals or institutions discussed. Rare photos illustrate the story.

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Biography, Filmography, News, Live Performances dates, Video Clips and Trailers, Music and Song Lyrics (Smile), Products, a Community. Everything you wish to know about Charlie Chaplin's life and work, and the latest News about all things Chaplin...

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echo smart speakers & displays - amazon devices

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Amazon.com: Echo Smart Speakers & Displays: Amazon Devices & Accessories: Smart Speakers, Smart Displays & More

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Online shopping for Amazon Devices & Accessories from a great selection of Smart Speakers, Smart Displays, Receivers & Amplifiers & more at everyday low prices.

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许多人不知道什么是AI的意思。 AI是人

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许多人不知道什么是AI的意思。 AI是人工智能的缩写。没有我们意识到，人造智慧在这个千年时代已经接管了人类世界。我们的银行，社交媒体，智能手机，房屋，安全监控都包括人工智能。这些天甚至老师都用人工智能来评估学生。有些人也用人工智能下棋。随着人工智能的使用，人们可以假设人造智能可能会推动第二次工业革命。
Many people do not know what AI means. AI is an abbreviation for artificial intelligence. Without we realize that artificial intelligence has taken over the human world in this millennial era. Our banks, social media, smartphones, homes, and security monitors include artificial intelligence. These days even teachers use artificial intelligence to evaluate students. Some people even use artificial intelligence to play chess. With the use of artificial intelligence right now, one can assume that artificial intelligence may push the second industrial revolution.

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A fun, simple, comprehensive guide to setup and start using your Echo. From start to finish, we show you how to get the most out of the Amazon Echo's features and her cloud based voice service Alexa. Want to Buy One? http://amzn.to/1PbXxvH Hey what's going on? This is Neha Joy with Howcast Tech.

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There were over 200 gods and goddesses worshipped throughout ancient China, but if one were to count every deity or spirit, the number would be over 1,000. Each town, village, city, field, farm, and sometimes even separate plot in a graveyard, had its own Tudi Gong, an elemental earth spirit, who was recognized and honored. There were also spirits known as Kuei-Shen, nature spirits, who might inhabit a tree or live by a stream or preside over a garden.

These were eternal spirits who had never been mortal but others, known as guei (or kuei, gui, kui), had once been human beings who had died and passed on to the afterlife. The guei could return to haunt the living for various reasons, and rituals, spells, and religious practices developed to appease them. There were also deities who had once been mortal and now lived with the gods, such as the Baxian ( Pa Hsien), the Eight Immortals of holy Taoists who were rewarded by the goddess Queen Mother of the West with immortality. The Baxian were prayed to like any of the other gods, as were one's ancestors who had passed over the bridge between the land of the living and the realm of the dead to live among the gods and watch over the living.

The gods were believed to have created the world and human beings, and they kept the world and surrounding universe functioning. Each deity had his or her own special area of power and influence, and the most important were given their own shrines and temples, although shrines were also erected to local spirits and to noble men and women who became deified after death.

The gods were believed to have created the world and human beings, and they kept the world and surrounding universe functioning.

These deities lived in palaces and castles high above human beings in places like the Kunlun Mountains, Mount Tai, the Jade Mountain, and Mount Penglai which was the mystical island of the afterlife somewhere far out at sea. Even though they were far away, they were still connected to human life on a daily basis, watching over and keeping account of the good and bad deeds people did. Each of the deities had their own part to play in the lives of people and the operation of the world from the most intimate moments to events of national importance such as a dynasty's collapse.

All of the gods, goddesses, and spirits were important to the people of ancient China, and remain so today, and selecting a certain small group leaves out many, many others who remain just as significant. However, one can single out those deities who had national prominence, are among the oldest, or are without question the most popular as shown through ancient writings and evidence from archaeological excavations. The gods and goddesses listed below are given in the order they appear in Chinese writings. Most likely, deities like Nuwa, Fuxi, and P'an Ku were recognized much earlier than written records indicate, and the same is probably true of most of the gods and goddesses on the list. These deities are selected because they were all very important to the people of ancient China even though some were more prominent at certain times in history than at others.

Dragon

The dragon is the oldest symbol of a deity found in China. The dragon symbol appears on pottery found at the Neolithic site of Banpo Village dating from between c. 4500-3750 BCE. Dragon was considered a composite of yin and yang energies and was originally seen as a balancing force who was wise and just. The dragon Yinglong was known as The Dragon King and god of rain and waters. As god of the sea, he was known as Hong Shen and was prayed to regularly by sailors and fishermen, but farmers who needed rain for their crops worshipped Dragon as well. He is also shown in human form as a wise man with the full sun behind his head watching over a boat full of people.

Shangti

Shangti was the supreme god of law, order, justice, and creation. He is also known as Jade Emperor, Yellow Emperor, or Yu Huang Shang-Ti, although there are sometimes important distinctions made between these names and Jade Emperor can mean another deity. Shangti was considered the great ancestor of all Chinese, who gave the people culture, architecture, skill in battle, agriculture, controlled the weather, regulated the seasons, and was king over the other gods, human beings, and nature. He was worshipped primarily during the Shang Dynasty (1600-1046 BCE) when he was considered a deified king who ruled c. 2697-2597 BCE and was included in the mythical or semi-mythical grouping of the Three Sovereigns and Five Emperors, demi-gods who ruled China between c. 2852-2070 BCE. During the Zhou Dynasty (c. 1046-226 BCE) Shangti was replaced by the concept of Tian (Heaven) but re-emerged as Shangti during the Warring States Period (476-221 BCE). The Zhou developed the concept of the Mandate of Heaven which legitimized the rule of a certain dynasty. Tian judged who was worthy to rule and for how long, and when a dynasty was no longer fit, it fell and another took its place.

Queen Mother of the West

She was the queen of the immortal gods and spirits, especially female spirits who lived in the mystical land of Xihua ("West Flower"), and goddess of immortality. She is also known as Xiwangmu or Xi-Wang-Mu and lived in a castle of gold in the Kunlun Mountains, surrounded by a moat which was so sensitive that even a hair dropped on the waters would sink. This moat served as protection for her Imperial Peach Orchard where the juices of the fruit of the trees gave immortality. Xiwangmu is shown as a beautiful woman with sharp teeth and a leopard's tail, or as an old, unattractive woman with a hunched back, tiger's teeth and a leopard's tale, depending on her mood. She rewarded her followers with eternal life but punished those who angered her. During the Han Dynasty (206 BCE-220 CE) her cult was very popular and shrines were built for her by the government. She is the wife of Mugong, Lord of the Spirits, who watches over male spirits in the land of Donghua ("East Flower") but is sometimes seen as the wife of Shangti.

Guanyin

Guanyin was the goddess of mercy and compassion who became the patron of sailors and fishermen. She was originally a deity in India known as Avalokitesvara whose name means "One Who Gazes Down Upon the World and Hears the Cries of the People". She came to China from India through trade via the Silk Road during the Han Dynasty (206 BCE-220 CE). She was so compassionate that she incarnated as the maiden Miaoshan in order to experience life as a human being and offer service to others. Miaoshan's father wanted her to marry a wealthy priest. Miaoshan refused to marry unless the marriage could end the sufferings caused by illness, aging, and death. When her father told her no marriage could end such things, she replied that a doctor could, but her father did not want her marrying someone of such a lowly occupation. She was allowed to enter a temple instead of marrying, but her father made sure that she was given all of the worst work, which she accomplished with the help of the nearby animals who responded to her goodness. Her father then tried to burn the temple down but Miaoshan put the fire out with her bare hands. He then had her executed, but when she went to hell, she released all of the goodness she held inside and turned it into paradise. The king of the dead, Lord Yama, sent her back to earth before she ruined his realm, and she lived afterwards on Fragrant Mountain where she watched over human beings. From her mountain home, she would often notice people in trouble on their boats at sea and rescued them, which is how she became patron goddess of sailors and fishermen. She was one of the most popular deities in all of China, and both men and women adored her.

Yan Wang

Yan Wang is the god of death and king in the afterlife. He is the greatest of all the Lords of Death who rule the regions of the underworld. He is also known as Yang-Wang-Yeh, Lord Yama, and Lord Yama King. Yan Wang presides over the judgment of souls and decides whether they will be punished for their crimes in life, go on to live with the gods, or be reincarnated. In one famous story, a soldier named Commandant Yang, who had caused a great deal of suffering and misery in his life, died and appeared in the court of Yan Wang. Yan Wang asked him how he had managed to build up so many sins on his soul in the short time he was on earth. Yang claimed he was innocent and had done nothing wrong. Yan Wang commanded the scrolls of Yang's life to be brought in where the date and time of his sins were read along with who was affected and how many had died because of Yang's selfishness. Yang was condemned by the Lord of Death, and a great hand appeared which snatched him up and crushed him. It was said that one could escape punishment for one's sins on earth but no one could escape justice in the court of Yan Wang.

Nuwa & Fuxi

Nuwa and Fuxi were the mother and father deities of human beings. Nuwa was born at the beginning of creation and fixed the mistakes made at first so that everything was perfect. She built a palace for herself, which became the model for Chinese architecture, and lived there with her friend and brother Fuxi, both depicted as human-dragons with human heads and dragon bodies or human bodies to the waist and dragon legs and tails. Nuwa became lonely and created human beings for company from the mud of the Yellow River. She breathed life into them and they moved and lived. She continued to make more and more human beings but it was tiring work and so she created marriage so that they could reproduce themselves. The humans were alive but had no knowledge of anything and so Fuxi gave them the gifts of fire, writing, how to get food from the sea, and all the other skills they would need to live. He also gave them the gifts of music, culture, and divination so they could make good decisions by knowing what the future held.

Caishen

Caishen, the god of wealth, was one of the most popular gods of ancient China and still is today. Statues of Caishen (also known as Ts'ai Shen) can be seen in businesses run by Chinese merchants all around the world and in Chinese homes. His statue shows a wealthy man seated in a silk robe holding riches in both hands. He is sometimes accompanied by two attendants carrying bowls of gold. He was not just the god of material wealth but of a rich life which meant a happy family and a secure, prosperous, and respectable job. Caishen was very generous to his followers but was not foolish and did not give out his wealth to just anyone. People had to prove themselves worthy of his generosity by working hard, praying to him regularly, and thanking him for his gifts. Temples and shrines to Caishen were probably the most numerous in ancient China.

Chang'e

Chang'e, the goddess of the moon, was another of the most popular deities in ancient China and is the most often mentioned deity in Chinese poetry and literature. She was the consort of the archer god Hou Yi who saved her during a lunar eclipse and brought her back safely. Chang'e betrayed him by stealing from him the elixir of immortality, which the gods had given him, and ran across the night sky with it, pursued by Hou Yi. She reached the moon where she transformed herself into a toad to hide from him until his rage passed. Hou Yi had been stopped in his pursuit by a hare who would not let him pass until he calmed down and promised he would not harm her. When Hou Yi reached the moon, Chang'e had remained in her toad form too long to change back and so, when one looks at the moon, one sees the outline of a toad on its surface. The story of Chang'e and Hou Yi was celebrated at the Mid-Autumn Festival in ancient China which is known today as the Moon Festival when people go outside at night to appreciate the moon, eat moon cakes, and give gifts to friends and family.

Zao-Shen

Zao-Shen (or Tsao Shen and Tsao Wang), also known as The Kitchen God, lived in the kitchen above the stove of every home. He was represented by a paper image made by the most prestigious woman of the household and was kept in the same place throughout the year. Zao-Shen was responsible for the happiness of the home and the prosperity of the family, but this depended on their behavior and values. Every month Zao-Shen left the home to report to the local gods and spirits on the family's conduct. If they had behaved well, he was instructed to increase their riches and happiness; if they had behaved badly, he was told to withdraw riches and happiness. "Riches" meant not only material wealth but comfort and well-being, which was further assured by his warding off evil spirits. When he left the home to make his report, families were especially anxious because they had no household protector. At the end of the lunar year, on New Year's Eve, Zao-Shen had to leave to report to Shangti himself and the universal gods on how the family had behaved throughout the year. At this time, more incense was burned than usual in front of the paper statue and its mouth was smeared with honey so that only sweet words about the family would be reported to the gods. Offerings of fine foods and good wine were placed before him to thank him for his protection. The paper figure was then burned and firecrackers set off to speed him on his way. The next morning, the first day of the New Year, a new paper statue was made and placed above the stove.

Niu Lang & Zhi Nu

The god and goddess of love. Zhi Nu was the goddess of weaving for the gods and daughter of Shangti. Every day she wove the beautiful robes the gods wore and looked down on earth from her place among the stars and wished she could visit. She was finally granted permission by her father and went to earth where she left her clothes by the banks of a stream and went swimming. A cowherd named Niu Lang saw her and fell in love with her so he stole her clothes so she could not run away from him. When Zhi Nu came out of the water she was outraged that her clothes were gone but when Niu Lang explained himself she fell in love with him. She forgot all about her home in the heavens and her duties as divine weaver and stayed on earth with Niu Lang. They were very happy together, every day they were more in love, and they had many children. Shangti was not pleased, though, and neither were the other gods and so soldiers were sent to bring Zhi Nu back home. Niu Lang tried to follow but Shangti threw a wall of stars across his path and stopped him; these stars are known on earth as the Milky Way. Once a year, magpies fly from earth to the Milky Way and form a bridge the two can cross to be with each other on the evening known as the Seventh Night of the Seventh Moon. This became a very popular story referenced by writers and poets in many different eras of China's history. The Lady in the famous poem, Song of Everlasting Sorrow, references this story toward the end when she is on the island in the afterlife. The myth was the basis for the Festival of the Seventh Night of the Seventh Moon which officially was dedicated to women's art in sewing and weaving but unofficially was a night for romance. Zhi Nu is the star Vega in the constellation of Lyra, and Niu Lang is the star Altair in the constellation of Aquila, separated by the Milky Way except for once a year.

Menshen

Menshen, the guardians of the door, known as "Gods of Peaceful Sleep" who protect a room, house, or building from evil spirits and ghosts, originated in the early Tang Dynasty (618-901 CE). The emperor Taizong (626-649 CE) was having a hard time sleeping because of nightmares. He consulted a doctor who blamed the bad dreams on evil spirits. Taizong's nightmares were so real he thought people were actually in the room trying to kill him, and so two of his most trusted guards were posted outside the door of his room, one standing on each side. Taizong began to sleep better with the guards outside and so ordered that their images be painted on the doorway. News of Taizong's painted soldiers spread and soon more and more people were painting guardians on their doors and rooms. These images can be seen on many buildings and homes in China and elsewhere. Part of the Chinese New Year celebration is cleaning and re-painting the Menshen on doorways.

P'an Ku

The god of creation, P'an Ku (also known as Pan Gu and Pangu) is pictured as a hairy dwarf with horns. Once there was only darkness everywhere in the universe and in this grew a cosmic egg which was kept warm for thousands of years until it broke open and P'an Ku appeared. He cut through the darkness and separated the yin from the yang principles; then he made the yin into earth and the yang into sky and pushed them apart from each other. Every day he stood on the earth and pushed the sky a little higher, and each day he grew taller and taller until he was a giant. P'an Ku then began to add pretty details to his creation like mountains and valleys, which he made according to the principles of yin and yang so that everything would be balanced. He worked on his creation for thousands of years until it was perfect, and then he died. His breath became air and his blood the rivers and streams. The fleas from his body ran off and became animals while his body hair became forests of trees and bushes. His left eye became the sun and his right eye the moon. Many centuries after his death, Nuwa appeared and created human beings and Fuxi taught them how to survive in the world P'an Ku had created. In another version of the myth, human beings are the fleas which run from P'an Ku's body after he dies.

Other gods & goddesses

These gods and goddesses and many others were worshipped by the Chinese people for centuries. Some developed later than others but all were important to the people. There were many other notable gods who deserve mention: Guan Gong (also known as Guandi), the god of war, who was a great warrior and hero deified after his death; Sun Wukong, the god of mischief, who ate the peaches of immortality and tricked the gods into giving him eternal life; Fu-Shen, the god of happiness; Hou-Ji, god of Millet and grains; Kailushen, "Spirit Who Clears Roads", a protector against ghosts and evil spirits; Sheji, god of soil and grain, a harvest fertility god; Wen Chang (also known as Wendi), god of literature who was the patron of scholars and writers and kept accounts of how well writers used their talents in life; and Cheng Huang, "God of Wall and Moat" who protected the walls and gates of the cities. Although worship of these gods was outlawed as "superstition" when the communist party took control of the Chinese government in 1949 CE, they continued to be worshipped privately by the people and are still honored in many homes all over the world today.

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Most Popular Gods & Goddesses of Ancient China

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There were over 200 gods and goddesses worshipped throughout ancient China, but if one were to count every deity or spirit, the number would be over 1,000. Each town, village, city, field, farm, and sometimes even separate plot in a graveyard, had its own Tudi Gong, an elemental earth spirit, who was recognized and honored.

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在中国，每个城镇都有自己的Tudi Go

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在中国，每个城镇都有自己的Tudi Gong，地球精神，还有Kuei-Shen，自然精神。某些神与人类的日常生活息息相关，关注人们的善恶行为。关于中国古代神和女神的这段文字对我来说非常有趣。这篇文章提到，如果我们对精神进行了计数，那么有超过200个神和女神，超过1000个，所以每个上帝都有很多的背景，他们为今天的文化做了什么。龙是中国发现的最古老的象征。它被认为是阴阳的组合，两个相反的力量在世界上。Shangti是法治，秩序，正义和创造的至尊神。皇后母亲是不朽神灵的女王，不朽的女神。Yan Wang是死亡之神，来世之王，也是死亡之王中最伟大的。Nuwa和Fuxi是人类的母亲和父亲的神。Caishen是财富之神。Chang'e是月亮的女神。P'an Ku是创作之神，P'an Ku如图所示，是一个带角的长毛矮人。
In China, each town has its own Tudi Gong, the spirit of the earth, and Kuei-Shen, the natural spirit. Some gods are closely related to the daily life of mankind and are concerned about the good and evil of people. The dragon is the oldest symbol of China. It is considered a combination of yin and yang, two opposite forces in the world. Shangti is the supreme god of the rule of law, order, justice and creation. Queen's mother is immortal god queen, immortal goddess. Yan Wang is the god of death, the king of the afterlife, and the greatest of the king of death. Nuwa and Fuxi are the gods of the mother and the father of man. Caishen is the god of wealth. Chang'e is the goddess of the moon. P'an Ku is the god of creation, P'an Ku as shown, is a horned long dwarf.

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Nine Dragons, handscroll section, by Chen Rong, AD 1244, Song dynasty, Museum of Fine Arts, Boston

Chinese mythology ( simplified Chinese: 中国神话; traditional Chinese: 中國神話; pinyin: Zhōngguó shénhuà ) is mythology that has been passed down in oral form or recorded in literature throughout the area now known as Greater China. Chinese mythology includes many varied myths from regional and cultural traditions. Much of the mythology involves exciting stories full of fantastic people and beings, the use of magical powers, often taking place in an exotic mythological place or time. Like many mythologies, Chinese mythology has in the past been believed to be, at least in part, a factual recording of history. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion and Taoism, especially older popular forms of it. Many stories regarding characters and events of the distant past have a double tradition: ones which present a more historicized or euhemerized version and ones which present a more mythological version.

Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or writing, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to the traditional Chinese concepts of li and . Many myths are oral associations and traditions with these two foundational concepts underpinning socially orientated ritual acts, such as communication, greetings, dances, ceremonies, and sacrifices.

There has been extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Elements of pre- Han dynasty mythology such as those in Classic of Mountains and Seas were adapted into these belief systems as they developed (in the case of Taoism), or were assimilated into Chinese culture (in the case of Buddhism). Elements from the teachings and beliefs of these systems became incorporated into Chinese mythology. For example, the Taoist belief of a spiritual Paradise became incorporated into mythology as the place where immortals and deities used to dwell. Sometimes mythological and religious ideas have become widespread across China's many regions and diverse ethnic societies. In other cases, beliefs are more limited to certain social groups, for example, the veneration of white stones by the Qiang. One mythological theme that has a long history and many variations involves a shamanic world view, for example in the cases of Mongolian shamanism among the Mongols, Hmong shamanism among the Miao people, and the shamanic beliefs of the Qing dynasty from 1643 to 1912, derived from the Manchus. Politically, mythology was often used to legitimize the dynasties of China, with the founding house of a dynasty claiming a divine descent.

Elaborations on the are not really part of mythology, although belief in five elements could appear. The Hundred Schools of Thought is a phrase suggesting the diversity of philosophical thought that developed during the Warring States of China. Then, and subsequently, philosophical movements had a complicated relationship with mythology. However, as far as they influence or are influenced by mythology, divides the philosophical camps into two rough halves, a Liberal group and a Conservative group. The liberal group being associated with the idea of individuality and change, for example as seen in the mythology of divination in China, such as the mythology of the dragon horse that delivered the eight bagua diagrams to Fu Xi, and methods of individual empowerment as seen in the Yi Jing ( Book of Changes). The Liberal tendency is towards individual freedom, Daoism, and Nature. The relationship of the Conservative philosophies to mythology is seen in the legendary Nine Tripod Cauldrons, mythology about the emperors and central bureaucratic governance, Confucianism, written histories, ceremonial observances, subordination of the individual to the social groups of family and state, and a fixation on stability and enduring institutions. The distinction between the Liberal and Conservative is very general, but important in Chinese thought. Contradictions can be found in the details, however these are often traditional, such as the embrace by Confucius of the philosophical aspects of the Yi Jing, and the back-and-forth about the Mandate of Heaven wherein one dynasty ends and another begins based according to accounts (some of heavily mythological) where the Way of Heaven results in change, but then a new ethical stable dynasty becomes established. Examples of this include the stories of Yi Yin, Tang of Shang and Jie of Xia or the similar fantastic stories around Duke of Zhou and King Zhou of Shang

Mythology exists in relationship with other aspects of society and culture, such as ritual. Various rituals are explained by mythology. For example, the ritual burning of mortuary banknotes (Hell Money), lighting fireworks, and so on.

A good example of the relationship between Chinese mythology and ritual is the Yubu, also known as the Steps or Paces of Yu. During the course of his activities in controlling the Great Flood, Yu was supposed to have so fatigued himself that he lost all the hair from his legs and developed a serious limp. Daoist practitioners sometimes incorporate a curiously choreographed pedal locomotion into various rituals. Mythology and practice, one explains the other: in these rituals, the sacred time of Yu merges with the sacral practice of the present.

Various ideas about the nature of the earth, the universe, and their relationship to each other have historically existed as either a background or a focus of mythologies. One typical view is of a square earth separated from a round sky by sky pillars (mountains, trees, or undefined). Above the sky is the realm of Heaven, often viewed of as a vast area, with many inhabitants. Often the heavenly inhabitants are thought to be of an "as above so below" nature, their lives and social arrangements being parallel to those on earth, with a hierarchical government run by a supreme emperor, many palaces and lesser dwellings, a vast bureaucracy of many functions, clerks, guards, and servants. Below was a vast under ground land, also known as Diyu, Yellow Springs, Hell, and other terms. As time progressed, the idea of an underground land in which the souls of the departed were punished for their misdeeds during life became explicit, related to developments in Daoism and Buddhism. The underground world also came to be conceived of as inhabited by a vast bureaucracy, with kings, judges, torturers, conductors of souls, minor bureaucrats, recording secretaries, similar to the structure of society in the Middle Kingdom (earthly China).

The mythology of China includes a mythological geography describing individual mythological descriptions of places and the features; sometimes, this reaches to the level of a cosmological conception. Various features of mythological terrain are described in myth, including a Heavenly world above the earth, a land of the dead beneath the earth, palaces beneath the sea, and various fantastic areas or features of the earth, located beyond the limits of the known earth. Such mythological features include mountains, rivers, forests or fantastic trees, and caves or grottoes. These then serve as the location for the actions of various beings and creatures. One concept encountered in some myths is the idea of travel between Earth and Heaven by means of climbing up or down the pillars separating the two, there usually being four or Eight Pillars or an unspecified number of these Sky Ladders.

The Four Symbols of Chinese cosmology were the Azure Dragon of the East, the Black Tortoise of the North, the White Tiger of the West, and the Vermillion Bird of the South. These totem animals represented the four cardinal directions, with a lot of associated symbolism and beliefs. A fifth cardinal direction was also postulated: the center, represented by the emperor of China, located in the middle of his Middle Kingdom (Zhong Guo, or China). The real or mythological inhabitants making their dwellings at these cardinal points were numerous, as is associated mythology.

The creation of the River of Heaven (Milky Way) across the sky.

Ming dynasty Water and Land ritual painting of celestial deities

The Heavenly realm is described by the Chinese word "Tian," which can be translated into English as both " Heaven" and "sky." Sometimes this was personified into a deity (sky god). In some descriptions, this was an elaborate place ruled over by a supreme deity, or a group of supreme deities. Jade Emperor being associated with Daoism and Buddhas with Buddhism. Many astronomically observable features were subjects of mythology or the mythological locations and settings for mythic scenes. These include the sun, stars, moon, planets, Milky Way (sometimes referred to as the River of Heaven), clouds, and other features. These were often the home or destination of various deities, divinities, shamans, and many more. Another concept of the Heavenly realm is that of the Cords of the Sky. Travel between Heaven and Earth was usually described as achieved by flying or climbing. The Queqiao (鵲橋; ) was a bridge formed by birds flying across the Milky Way, as seen in The Cowherd and the Weaver Girl mythology surrounding the Qixi Festival. The hazy band of stars of the Milky Way was referred to as the "Silvery River" or the "River of Heaven".

According to mythology, beneath the Earth is another realm--an underground world generally said to be inhabited by the souls of dead humans and various supernatural beings (see hun and po). This hell is known by various names, including Diyu or the Yellow Springs. In more recent mythology, the underground inhabitation of the dead is generally described as somewhat similar to the land above: it possesses a hierarchical government bureaucracy, centered in the capital city of Youdu. The rulers of the underground realm are various kings, whose duties include parsing the souls of the dead according to the merits of their life on earth, and maintaining adequate records regarding that process. (An example of one such ruler is Yánluó wáng ("King Yanluo")). Souls are parsed and adjudicated for torturous punishment by balancing ones' crimes in life against any merits earned through good deeds. Various other functions within Diyu are performed by minor officials and minions, examples of whom are Ox-Head and Horse-Face, humanoid devils with animal features. In some versions of mythology or Chinese folk religion, souls are returned from Diyu and reincarnated after being given the Drink of Forgetfulness by Meng Po.

Ming dynasty Water and Land Ritual painting of military and nature spirits.

Much mythology involves remote, exotic, or hard-to-get-to places. All sorts of mythological geography is said to exist at the extremes of the cardinal directions of earth. Much of the earthly terrain has been said to be inhabited by local spirits (sometimes called fairies or genii loci), especially mountains and bodies of water. There are Grotto Heavens, and also earthly paradises.

Seas, rivers, and islands

Various bodies of water appear in Chinese mythology. This includes oceans, rivers, streams, ponds. Often they are part of a mythological geography, and may have notable features, such as mythological islands, or other mythological features. There are mythological versions of all the major rivers that have existed in China in between ancient and modern China (most of these rivers are the same, but not all). Sometimes these rivers are said to originate from the Milky Way or Kunlun. Anyway, they are said to flow west to east because Gonggong wrecked the world pillar at Buzhou, tilting Earth and Heaven away from each other at that sector. Examples of these mythologized rivers include the Yangzi (including various stretches under different names), the Yellow River, the mythological Red River in the west, near Kunlun, and the Weak River, a mythological river in "the west", near "Kunlun", which flowed with a liquid too light in specific gravity for floating or swimming (but unbreathable). Examples of features along mythological rivers include the Dragon Gates ( Longmen) which were rapid waterfalls where select carp can transform into dragons, by swimming upstream and leaping up over the falls. Examples of islands include Mount Penglai, a paradisaical isle in the sea, vaguely east of China but sometimes conflated with Japan.

Various other mythological locales include what are known as fairylands or paradises, pillars separating Earth and Sky, ruined or otherwise. The Earth has many extreme and exotic locales - they are separated by pillars between Earth and Heaven, supporting the sky, usually four or eight. Generally, Chinese mythology regarded people as living in the middle regions of the world and conceived the exotic earthly places to exist in the directional extremes to the north, east, south, or west. Eventually, the idea of an eastern and western paradise seems to have arisen. In the west, according to certain myths, there was Kunlun. On the eastern seacoast was Feather Mountain, the place of exile of Gun and other events during or just after the world flood. Further east was Fusang, a mythical tree, or else an island (sometimes interpreted as Japan). The geography of China, in which the land seems to be higher in the west and tilt down toward the east and with the rivers tending to flow west-to-east was explained by the damage Gonggong did to the world pillar Mount Buzhou, mountain pillars separating the sky from the world (China), which also displaced the Celestial Pole, so that the sky rotates off-center.

In the west was Kunlun, although it is also sometimes said to be towards the south seas. Kunlun was pictured as having a mountain or mountain range, Kunlun Mountain where dwelt various divinities, grew fabulous plants, home to exotic animals, and various deities and immortals (today there is a real mountain or range named Kunlun, as there has in the past, however the identity has shifted further west over time). The Qing Niao bird was a mythical bird, and messenger of Xi Wangmu to the rest of the world. Nearby to Kunlun, it was sometimes said or written and forming a sort of protective barrier to the western paradise or "fairyland" named Xuánpǔ () where also was to be found the jade pool Yáochí (), eventually thought to exist on mount Kunlun (which itself was thought to possess cliffs insurmountable to normal mortals was the Moving Sands, a semi-mythological place also to the west of China (the real Taklamakan Desert to the west of or in China is known for its shifting sands). There were other locations of mythological geography around the area of Kunlun such as Jade Mountain and the various colored rivers which flew out of Kunlun. For example, the Red, or Scarlet River was supposed to flow to the south of Kunlun.

Mythological and semi-mythological chronology includes mythic representations of the creation of the world, population (and sometimes re-populations) by humans, sometimes floods, and various cultural developments, such as the development of ruling dynasties. Many myths and stories have been recounted about the early dynasties, however, more purely historical literature tends to begin with the Qin dynasty (for example, see Paladin 1998). On the other hand, accounts of the Shang, Xia, and early Zhou dynasties tend to mythologize. By a historical process of euhemerism many of these myths evolved over time into variant versions with an emphasis on moral parables and rationalization of some of the more fantastic ideas.

Mythology of time and the calendar includes the twelve zodiacal animals and various divine or spiritual genii regulating or appointed as guardians for years, days, or hours.

In China and surrounding areas, a calendrical system consisting of measuring time in cycles of twelve represented by twelve has an ancient historical past. The exact line-up of animals is sometimes slightly different, but the basic principle is that each animal takes a turn as the emblematic or totem animal for a year or other unit of time in a cycle of one dozen. This is explained by various myths.

The zodiacs in order are: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, and Pig

Some Chinese mythology becomes specific about chronological time, based on the system, numbers of human generations, or other details suggesting synchronization between the mythological chronology and the ideas of modern historians. However, real correlation begins in the Year of the Metal Monkey, Zhou dynasty, 841 BCE, a since validated claim by Sima Qian. However, although historians take note of this, subsequent mythology has not tended to reflect this quest for rational, historical timelining.

Various ideas about the creation of the universe, the earth, the sky, various deities and creatures, and the origin of various clans or ethnic groups of humans have circulated in the area of China for millennia. These creation myths may include the origins of the universe and everything, the origins of humans, or the origins of specific groups, such as a Han Chinese in descent from Yandi and Huangdi (as , "Descendants of the Flame and Yellow Emperors"). Various myths contain explanations of various origins and the progress of cultural development.

One common story involves Pangu. Among other sources, he was written about by Taoist author Xu Zheng c. 200 CE, as claimed to be the first sentient being and creator, "making the heavens and the earth".

Various culture heroes have been said to have helped or saved humanity in many ways, such as stopping floods, teaching the use of fire, and so on. As mythic chronology is inherently nonlinear, with time being telescopically expanded or contracted, there are various contradictions. The earliest culture heroes were sometimes considered deities and other times heroic humans, but often little distinction was made. Examples of early culture heroes include Youchao ("Have Nest") who taught people how to make wooden shelters,.) and Suiren ("Fire Maker") who taught people the use of fire and cooking thus saving them from much food-poisoning, in addition to developing cuisine. Another example of a mythological hero who provided beneficial knowledge to humanity involves sericulture, the production of silk: an invention credited to Leizu, for one. An example of a non-Han ethnicity culture hero is Panhu. Because of their self-identification as descendants from these original ancestors, Panhu has been worshiped by the Yao people and the She people, often as King Pan, and the eating of dog meat was tabooed. This ancestral myth has also been found among the Miao people and Li people. Some of the first culture heroes are the legendary emperors who succeeded the times of the part-human, part-serpent deities Nuwa and Fuxi; these emperors tend to be portrayed as more explicitly human, although Huangdi, the Yellow Emperor, is often portrayed as part-dragon during life.

Some historicized versions of semi-historical and undeniably mythologized accounts of ancient times were used by those who have attempted to apply actual BCE dates to the mythological chronology. Traditional Chinese accounts of the early emperors chronologically locate the Yellow Emperor as having lived in the Northern Chinese plain around 2698 to 2599 BCE, about seventeen generations after the time of Shennong. A major difference between the possible historicity of material embedded in mythological accounts is that through the time of the last Flame Emperor (Yandi) information was recorded using knotted ropes, whereas the introduction of writing is associated with the reign of Huang Di (although the historical continuity of written tradition beginning at that time is a matter of discussion by experts). The most prominent of the first emperors include, in chronological order, Huangdi, Gaoyang (Zhuanxu), Gaoxin (Di Ku), Yao, and Shun. These emperors were said to be morally upright and benevolent, and examples to be emulated by latter-day kings and emperors. Sometimes approximate calculations of times have been made based on the claimed number of generations from one significant mythological figure to the next, as in the case of the legendary founder of the Ji family, Hou Ji, whose descendants would rule generations after his mythological appearance as the historical Zhou dynasty, beginning around 1046 BCE. Despite various assignments of dates to the accounts of these Emperors, fantastic claims about the length of their reigns are common. The average reign-lengths that these numbers imply are improbable, and there is a lack of consensus regarding these dates by modern historians. Their historical use may be limited to establishing a relative chronology.

Houji was a cultural hero, of the agricultural type.

Chiyou (also known as Ch'ih Yu) was a metallurgical engineer, specializing in weaponry.

The mythological history of people (or at least the Han Chinese people) begins with two groups, one of three and one of five. The numbers are symbolically significant, however, the actual membership of the two groups is not explicated. There are different lists. The older group is the Three Primeval Emperors, who were followed by the Five Premier Emperors. After that came the Three Dynasties: these were the Xia dynasty, Shang dynasty, and the Zhou dynasty. These three are all historically attested to, but separating the myth from the history is not always clear; nevertheless, there is a lot of mythology around the Three Primeval Emperors, Five Premier Emperors, and Three Dynasties. An age of Three Primeval Emperors followed by the age of the Five Premier Emperors ( Sānhuáng-Wǔdì) contrasts with the subsequent treatment of chronology by dynasties, up to recent times. Since the time the Qin emperor titled himself huangdi by combining two previous titles into one, huangdi was the title for Chinese emperors for ages.

The title of the Three Primeval Emperors is huang, in Chinese. The original connotation of this title is unknown, and it is variously translated into English. Translations include "Sovereign", "Emperor", and "August".

The names of the Three Primeval Emperors include Youchao ("Have Nest"), Suiren ("Fire Maker"), Paoxi/Fuxi ("Animal Domesticator"), and Shennong ("Divine Husbandman"). Sometimes Huangdi is included.

The title of the Five Premier Emperors is di, in Chinese. The original connotation of this title is unknown, or how it compares or contrasts with the term huang, and it is variously translated into English. Translations include "Sovereign", "Emperor", and "Lord".

Names of the Five Premier Emperors include Huangdi, Shaohao, Zhuanxu, Di Ku, Yao, and Shun.

Nuwa and Fuxi (also known as Paoxi) are sometimes worshiped as the ultimate ancestor of all humankind and are often represented as half-snake, half-humans. Nuwa's companion, Fuxi, was her brother and husband.

After Gong-Gong was said to have damaged the world pillar holding the earth and sky apart, the sky was rent causing fires, floods (the Flood of Nuwa) and other devastating events which were only remedied when Nüwa repaired the sky with five colored stones. The figure of Nüwa, also referred to as Nü Kwa, appeared in literature no earlier than c. 350 BCE. It is sometimes believed that Nüwa molded humans from clay to populate or re-populate the world, thus creating modern humans.

The production of the Yellow River Map is associated mythologically with Fuxi but is also sometimes placed in subsequent eras.

Shennong is variously translated as "Divine Farmer" or "Divine Peasant", or "Agriculture God", and also known as the Wugushen (Spirit of the Five Grains) and Wuguxiandi "First Deity of the Five Grains". Shennong is a mythological Chinese deity in Chinese folk religion and venerated as a mythical sage ruler of prehistoric China. Shennong's descendants began to style themselves as Flame Emperors, or Yandi. Yandi was sometimes considered an important mythological emperor, but better considered as series of emperors bearing the same title, the "Flame Emperor(s)". Yan literally means "flame", implying that Yan Emperor's people possibly uphold a symbol of fire as their tribal totems. K. C. Wu speculates that this appellation may be connected with the use of fire to clear the fields in slash and burn agriculture. And, Yandi is also a Red Emperor.

One of the more important figures in Chinese mythology is Huang Di, sometimes translated into English as Yellow Emperor. His original name was Yellow Soil or Huangdi where di was the Chinese word for soil or ground. He was named after the Yellow Soil in the Yellow River Basin area where Chinese civilization was thought to have originated. Future generations later changed it to di or emperor in order to give Huangdi a more sovereign-sounding name. He also appears as Xuanyuan. Huang Di is also referred to as one of the Five August ones, and one of the few consistent members of the list. There were also other colored emperors, such as Black, Green, Red, and White. According to some mythology, Huang Di was the son of Shaodian, who was the half-brother of Yan Di. Huang Di's mother was said to be Fubao. Huang Di's wife Leizu is supposed to have invented sericulture. In some versions Cangjie invented writing during the reign of Huang Di. The Yellow Emperor is said to have fought a great battle against Chiyou. Huangdi had various wives and many descendants, including Shaohao (leader of the Dongyi).

Ku, Di Ku, Ti K'u, or Diku, is also known as Kao Hsin or Gāoxīn. Diku is an important mythological figure, as signified by his title Di (), basically signifying possession of some sort of imperial divinity, as in the sense of the Roman title ; something sometimes translated as "emperor". Diku is sometimes considered to descend from Huangdi and to be ancestral to the ruling family of the Shang dynasty of the second millennium BCE. Diku is credited with the invention of various musical instruments along with musical pieces for them to accompany. Diku is said to have consorted with the semi-divine females Jiang Yuan and Jiandi.

Yao and Shun were important mythological rulers, exemplars of propriety in rulership. The Great Flood began during the reign of Yao and continued through the time of Shun (the successor of Yao, who had passed over his own son and made Shun his successor because of Shun's ability and morality). Historically, when Qin Shi Huang united China in 221 BCE, he used propaganda to acclaim his achievements as surpassing those of mythological rulers who had gone before him. He combined the ancient titles of Huáng () and Dì () to create a new title, Huángdì (); thus, the Qin emperor used mythology to bolster his claims to be the legitimate and absolute ruler of the whole earth. This reflected what was to become a longstanding belief that all civilized people should have one government, and that it should be Chinese.

Shun passed on his place as emperor to Yu the Great. The Yellow River, prone to flooding, erupted in a huge flood in the time of Yao. The flood disrupted society and endangered human existence, as agricultural fields drowned, hunting game disappeared, and the people were dislocated to hills and mountains. Yu's father, Gun, was put in charge of flood control by Yao, but failed to alleviate the problem after nine years. In some versions Gun was executed by Shun's minister Zhurong for this failure, but according to others Gun was merely exiled for opposing the elevation of Shun as co-emperor. In more purely mythological versions, the story is more along the lines that Gun transformed into an animal shape to escape the wrath of Heaven (for having dared to go to Heaven and steal the flood-fighting expanding earth xirang). He fled to Feather Mountain and was struck dead by the fire god Zhurong on behalf of Heaven. After three years, his son Yu appeared out of his belly, usually said to be in the form of some fantastic animal. Yu took his father's place fighting the flood, leading the people to build canals and levees, often said to be with the help of Xirang. After thirteen years of toil, Yu abated the flood. Why the Xirang failed to work when Gun used it and he was punished by Heaven, but when Yu used it he was able to stop the flood and was rewarded by Heaven, is a question frequently made in the myths. The mythology of Yu and his associates during their work in controlling the flood and simultaneously saving the people can be seen in various ways to symbolize different societal and cultural developments, such as innovations in hunting, agriculture, well-digging, astronomy, social and political organizing, and other cultural innovations that occur during the course of the mythology around the flood stories. For example, a historicized version of xirang explains this soil may represent an innovative type of raised garden, made up of soil, brushwood, and similar materials. Thus, Yu and his work in controlling the flood with xirang would symbolize a societal development allowing a large scale approach to transforming wetlands into arable fields. Yu was said to be the founder of the Xia dynasty.

The first three dynasties have especial significance in mythology.

The Xia dynasty is a real, historical dynasty known through archeology and literary accounts. However, many of these accounts contain elements of a clearly semi-mythological, and in some versions completely mythological or fanciful. The founding mythology of the early dynasties tends to have certain common general features, including the divine assistance obtained in the founding and the reasons for it. The fighter of the Great Flood, Yu "the Great" had served Yao and Shun and they enfeoffed him as the Prince of Xia, an area of land. Upon Yu's death questions arose regarding the method of imperial succession, which would be a key factor as an example for Chinese culture for millennia. The question was who would succeed Yu upon his death. It could be his son, Qi of Xia, also known as Kai, or the deputy that competently and diligently helped in the work against the great flood, a mighty hunter who helped feed the people during a time when agriculture had been rendered impossible, Bo Yi. The mythological variants are much concerned with the relative merits between the two. Qi's succession broke the previous convention of meritorious succession in favor of hereditary succession, thus initiating a dynastic tradition. The new dynasty was called "Xia" after Yu's centre of power.

Again, as in common with the founding of Xia, there is mythological material regarding how the previous dynasty turned to evil and unworthy ways, and the founder (of miraculous birth or ancestry) overthrew it. The mythology of the Shang dynasty is distinct from philosophical and historical accounts. Significant mythology includes the origin of its founders, the miraculous birth by Jiandi of Shang founder Qi, also known as Xie of Shang, after she became pregnant upon swallowing or holding in her bosom a bird's egg. After several generations, Xie (or Qi)'s descendant Tang became king of Shang by overthrowing Jie, the last king of the Xia dynasty, said to be a very drunken and bloodthirsty tyrant. The fifth book of the philosopher Mozi describes the end of the Xia dynasty and the beginning of the Shang:

During the reign of King Jie of Xia, there was a great climatic change. Legends hold that the paths of the sun and moon changed, the seasons became confused, and the five grains dried up. Ghouls cried in the country and cranes shrieked for ten nights. Heaven ordered Shang Tang to receive the heavenly commission from the Xia dynasty, which had failed morally and which Heaven was determined to end. Shang Tang was commanded to destroy Xia with the promise of Heaven's help. In the dark, Heaven destroyed the fortress' pool, and Shang Tang then gained victory easily ( Condemnation of Offensive War III, by Mozi).

After discussing the end of Xia and the beginning of Shang, Mozi describes the end of Shang and the beginning of the succeeding Zhou dynasty:

During the reign of Shang Zhòu, Heaven could not endure Zhòu's morality and neglect of timely sacrifices. It rained mud for ten days and nights, the nine cauldrons shifted positions, supernatural prodigies appeared, and ghosts cried at night. There were women who became men while it rained flesh and thorny brambles, covering the national highways. A red bird brought a message: "Heaven decrees King Wen of Zhou to punish Yin and possess its empire". The Yellow River formed charts and the earth brought forth mythical horses. When King Wu became king, three gods appeared to him in a dream, telling him that they had drowned Shang Zhòu in wine and that King Wu was to attack him. On the way back from victory, the heavens gave him the emblem of a yellow bird.

The mythological events surrounding the end of the Shang dynasty and the establishment of the Zhou greatly influenced the subject and story told in the popular novel Investiture of the Gods.

The origins of the Ji dynastic founding family of the Zhōu dynasty is replete with mythological material, going back to its legendary founder Houji (who was originally named Qi, but a different Qi than the Shang founder known as Xie or Qi). Myths about Houji include those of his mythical origins, of which there are two main myths. The end of the Shang overlaps the rise of the Zhōu, so there is shared material. Once established, the Zhōu were characterized by their volume of literature, in the beginning much of it justifying their overthrow of the Shang. However, it was not long before much historical material appeared, of a rational, rationalized, philosophical, or otherwise non-mythological nature.

One of the main legacies of the rise of Zhou was the insemination of the classic book , however the eight trigrams must be from a far earlier period than Wengong, and even more than the editing and commentary by Confucius - mythology references the culture hero sometimes named Fuxi.

Dynasties succeeding Zhou had notable mythological material, such as the accumulation of legend around the Jian'an transition between Han dynasty and the Three Kingdoms contention, reflected in the Romance of the Three Kingdoms. From the Tang dynasty on, legends occur around the monk Xuanzang's quest for Buddhist scriptures (sutras) from the area more-or-less corresponding to modern India, which influenced the Ming dynasty novel Journey to the West.

Important deities, spirits, and mythological people

Wen Chang, Chinese God of literature, carved in ivory, c. 1550-1644, Ming dynasty.

There are various important deities, spirits, and mythological people in Chinese mythology and folk religion. Some are clearly divine, such as the Jade Emperor (and even he is sometimes said to have begun life as a mortal). However, in Chinese language many beings are referred to as . (Sometimes Chinese mythology is called - Mandarin Chinese: Zhōngguó Shénhuà). Due to the ambiguity of this word when translated into English, it is not always clear how to classify in English the entities described as shen. The category shen is rather comprehensive and generic in Chinese myth and religion, shen may be spirits, goddesses or gods, ghosts, or other. Another important concept is the classification of immortals (). Immortals are more a category of quality than a description of an actual type. Immortals are defined by living for a long time (maybe forever). However, this is not a static quality, since Daoist adepts, shamans, or others are said to become immortals through right effort and various practices. Another example is the immortality sometimes obtained by the lohans, Bodhisattvas, and Buddhas of Buddhist religion and mythology (this contrasts with indefinitely prolonged series of unenlightened re-births). Chinese mythology often tends to not make a clear differentiation between Buddhist and Daoist types. Various deities, spirits, and immortals ( xian) are encountered in various myths. Some of these are particularly associated with Daoism. Some immortals or others became incorporated into Daoism as it developed as a phenomenon, deriving from ancient shamanic cults or other sources. The line between Daoism and folk religion is not clear. Other mythological beings are clearly derived through the process of the introduction of Buddhism into China.

The concept of a principal or presiding deity has fluctuated over time in Chinese mythology.

Shangdi, also sometimes Huángtiān Dàdì (), appeared as early as the Shang dynasty. In later eras, he was more commonly referred to as Huángtiān Shàngdì (). The use of Huángtiān Dàdì refers to the Jade Emperor and .

Chinese mythology holds that the Jade Emperor was charged with running of the three realms: heaven, hell, and the realm of the living. The Jade Emperor adjudicated and meted out rewards and remedies to saints, the living, and the deceased according to a merit system loosely called the Jade Principles Golden Script (, Yù lǜ jīn piān). When proposed judgments were objected to, usually by other saints, the administration would occasionally resort to the counsels of advisory elders. The Jade Emperor appeared in literature after the establishment of Taoism in China; his appearance as Yu Huang dates back to beyond the times of Yellow Emperor, Nüwa, or Fuxi.

Tian can be either a sky deity by that name or Heaven - the Sky itself. Tian appeared in literature c. 700 BCE, possibly earlier as dating depends on the date of the Shujing ( Book of Documents). There are no creation-oriented narratives for Tian. The qualities of Tian and Shangdi appear to have merged in later literature and are now worshiped as one entity ("", Huángtiān Shàngdì) in, for example, the Beijing's Temple of Heaven. The extent of the distinction between Tian and Shangdi is debated. The sinologist Herrlee Creel claims that an analysis of the Shang oracle bones reveals Shangdi to have preceded Tian as a deity, and that Zhou dynasty authors replaced the term "Shangdi" with "Tian" to cement the claims of their influence.

Nüwa (or Nügua) is considered a mother goddess of Chinese mythology. She was involved in the creation of humanity and repairing the Pillars of Heaven. Nüwa is often depicted as half snake, half human, and is sometimes considered one of the Three Sovereigns, along with her brother and husband Fuxi.

Fuxi is the first of the Three Sovereigns. He created humanity alongside his sister and wife Nüwa, and like her, is depicted as half snake, half human. Fuxi is closely associated with the I Ching.

Over time certain aspects of folk religion and belief coalesced and were refined into a group of formal religious beliefs, practices, and philosophy known as Daoism. One of the founders of Daoism was Old Man Laozi, who himself entered into legend or mythology. There is much overlap between religion and mythology, and between Chinese folk religion and Daoism. However, certain beings or concepts of Chinese mythology have a particularly strong association with religious or philosophical Daoism. For example, the Jade Emperor, Yùhuáng, is a major actor in many myths. In Daoist-related mythology there is often a strong presence of sorcery and magic, such as spells, charms, magical abilities, and elixirs. The development of Daoism as it came to be called was a lengthy one, with various strands including both rationalist ethical philosophy and a magico-religious stand informed by mythology. As Daoism developed as a concept from its traditional roots in Chinese folk religion and mythology, its legitimacy was bolstered by claims of originating with Huangdi, the Yellow Emperor. For example some of the Huangdi Sijing material, the Huangdi Yinfujing, and the Huangdi Neijing are Daoist classics with claims to a scriptural legacy going back to Huangdi.

Buddhism was historically introduced to China, probably in the first century CE, accompanied by the import of various ideas about deities and supernatural beings including Kṣitigarbha who was renamed Dizang. the Four Heavenly Kings, the main Buddha himself Shakyamuni Buddha (, Shìjiāmóunífó), Avalokiteśvara who after a few centuries metamorphosized into Guanyin (also Kuanyin) a bodhisattva of compassion, and Hotei the Laughing Buddha. New Buddhist material continued to enter China, with a big spike in the Tang dynasty, when the monk Xuanzang brought over 600 texts from India. Over time, Guanyin also became a Daoist immortal and was the subject of much mythology.

Guanyin is also known as Kwan Yin, Guanshiyin, the Goddess of Mercy and many other names. The mythology around Guanyin is two-fold, one based on the Avalokitasvara/Avalokiteśvara tradition from India and one based on an alleged Chinese young woman's life, as appears in the legend of Miaoshan. Guanyin is worshiped as a goddess, yet has a most impressive mythological résumé. Many myths and legends exist about Guan Yin. In all of them she is exceptionally compassionate.

Kṣitigarbha was a Buddhist deity from the area of India who was renamed Dizang, In China. He usually appears as Usually depicted as a monk with a halo around his shaved head, he carries a staff to force open the gates of hell and a wish-fulfilling jewel to light up the darkness.

There are a group known as the Four Heavenly Kings, one for each cardinal direction. Statues of them can be encountered in the Hall of the Heavenly Kings of many Buddhist temples.

The depiction of a fat, laughing Buddha developed in China.[citation needed ]

A major factor in Chinese mythology is shown in the development of the tradition known as Confucianism, named after a writer and school master who lived around 551-479 BCE. Confucius embraced the traditions of ancestor veneration. He came to be a major figure of worship in Daoism, which had its genesis in traditional Chinese religion. The legitimacy of the Confucian movement was bolstered by the claim that its origins could be found in the mythology (often claimed to be history) of Yao and Shun.

Modern and ancient Chinese culture had plenty of room for both religion and mythology. Certain deities or spirits receive special attention. These include divinities of wealth, longevity, fertility. Mythologically, it is possible to attain many desires through ritual activity involved with mythological themes. For example, many stores and restaurants in China or of the Chinese diaspora have shrines to Guan Yu, also known as Guandi.

Guandi began as a Three Kingdoms general, Guan Yu. Over the subsequent centuries, Guan Yu became promoted by official decree to be the god Guandi. He is a god primarily of brotherhood and social organizations such as businesses, although this is sometimes seen in connection with martial power and war. According to mythology, Guan Yu made a famous covenant of brotherhood in a peach orchard.

An example of Sharing between folk religion and mythology is the Star God of Longevity.

Much Chinese mythology concerns the afterlife, explaining what happens people after they die. This is related to ancestor veneration, the mythological geography of heaven and hell, the rituals at family tombs, and so on.

Sometimes, in mythology, certain humans develop the ability to live indefinitely, avoiding death, and becoming divine . Such humans generally also are said to develop special powers. Generally, these abilities are said to develop through such practices of Chinese alchemy, obtaining an Elixir of life, and/or various austerities of diet or sexuality. Symbolic associations with immortality include a spotted deer, cranes, the Lingzhi mushroom, and a gourd and bat. often Immortals are mythologically located in Mountain Paradises, such as Kunlun. Various common English translations of xiān exist, such as Immortal, Fairy, and Sage. An example of a Daoist immortal is Wong Tai Sin, who began as a fourth century CE hermit and developed into a divine healer.

Magu is a legendary Taoist xian (transcendent"), still currently worshiped. Magu is associated with the elixir of life, and is a symbolic protector of females in Chinese mythology. Stories in Chinese literature describe Magu as a beautiful young woman with long birdlike fingernails, while early myths associate her with caves. Magu's name literally compounds two common Chinese words: ma "cannabis; hemp" and gu "aunt; maid".

Common beliefs and stories in Chinese mythology involve a soul or spirit that survives after the death of someone's body. There are many types.

Jiangshi are a type of re-animated corpse.

In the mythological folklore, Zhong Kui is regarded as a vanquisher of ghosts and evil beings. He committed suicide upon being unfairly stripped of his title of "Zhuangyuan" (top-scorer) of the Imperial Examinations by the emperor, due to his disfigured and ugly appearance. His spirit was condemned to Hell because suicide was considered a grave sin, but Yama (the Chinese Hell King) judged him worthy of the title "King of Ghosts" in Diyu (Hell). Yama tasked him to hunt, capture, take charge of, and maintain discipline and order of all ghosts. On Chinese New Year's eve, Zhong Kui returned to his hometown to repay the kindness of his friend Du Ping ().

Abundant mythology is associated with religious holidays and folk festivals.

The Qingming festival is a good example of a Chinese holiday that involves family activities associated with a seasonally-recurring annual event; and, also, ancestor veneration.

The seasonally-recurring annual holiday of Qixi involves love and romance. A main mythological tale is " The Cowherd and the Weaver Girl".

Various deities or spirits are associated with weather phenomena, such as drought or thunder. Dragons are often associated with rain. Examples include the deity or mythological person Ba, also known as Hànbá or Nuba. Ba is the daughter of the Yellow Emperor (Huangdi) whom she aided during his Battle at Zhuolu against Chiyou: after Chiyou had fielded a wind god ( Feng Bo) and a rain god ( Yu Shi), Ba descended from heaven to use her drought power to defeat their wind and rain powers. She is one of the first goddesses attested to in Chinese literature, appearing in the early collection of poetry, the , as well as in the later Shanhaijing. At least up through the middle of the twentieth century, ceremonies to produce rain were held in many regions of China. The basic idea of these ceremonies, which could last several hours, was to drive Ba out of the region. Another example, is Lei Gong, god of thunder.

Various goddesses, gods, or spirits are especially associated with certain astronomical objects.

Various mythology involves the sun. One solar deity is Xihe, goddess of the sun. There is a myth of Kua Fu, a giant who followed the sun, during the course of his chase he drained all of the waters dry including the Yellow River, and after he died of thirst was transformed into a mountain range or a forest. Known as sānzúwū are three-legged raven or ravens associated with the sun, or the ten suns, of which Houyi shot down nine. Sometimes mythology portrays there being more than one sun.

It was said that there were ten suns, each one taking a turn on its allotted day to cross the sky (this has been thought evidence of a ten-day week used at one time). There is a mythological account of how at one on a certain morning ten suns all rose into the sky together. The oppressive heat lead to drought, the plants began to wither, and humans and animals were all on the verge of death. A mighty archer Yi, or Houyi, shot down all but one of them, saving humanity.

Chang'e (or in older versions Chang'O) is goddess of the moon. Another lunar deity is Changxi, probably an older version of Chang'e with the name changed due to a naming taboo. Chang'e is modern.

In mythology it was said that Chang'e had been married to the heroic archer Houyi, but one day she swallowed a Pill of Immortality and floated up to the moon. Now it is said Chang'e lives in a cold crystal palace on the moon. Every year during a full moon toward harvest time, Chang'e is worshiped. This is the Mid-Autumn Festival, families gather under the moonlight and celebrate in honour of the moon. Although somewhat lonely, Chang'e is not alone on the moon.

A magical tree grows on the moon. It is possibly an osmanthus tree ( Osmanthus fragrans), some type of laurel ( Lauraceae), such as a cassia such as ( Cinnamomum cassia), but more likely a unique specimen of a magical tree. Every month the Wu Gang cuts away at the tree, chopping it smaller and smaller. Then, just when he just has it chopped completely down, it magically grows back. Once it has grown back Wu Gang returns to his chopping, in an endless monthly cycle.

An alchemical hare or rabbit lives on the moon. The lunar rabbit can be seen when the moon is full, busy with mortar and pestle, preparing the Elixir of Immortality.

(See Liu Haichan for Chinese characters)

A three-legged toad lives on the moon. During full moons the three-legged Golden Toad Jin Chan frequents near houses or businesses that will soon receive good news generally in the form of wealth. Also known as a Money Toad, statuettes of this toad are used as a charm in Fengshui. The mythology of the Immortal Liu Haichan (who seems to be a form of Caishen/Zhao Gong, God of Wealth) is associated with this tripedal toad.

Various goddesses, gods, spirits, fairies, or monsters are associated with specific places, such as particular rivers, mountains, or the ocean. Some of these locations are associated with real geography, others are known only through mythological imagination.

Xi Wangmu, meaning Queen Mother of the West, predates organized Daoism, yet is now strongly identified with Daoism. Xi Wangmu is generally mythologically located in a western wonderland "to the west", now identified with the Kunlun of mythology. Thus, she is the ruler of a passageway between Earth and Heaven.

Mazu is a major goddess. She is a goddess of the sea. Mazu worship is credited with leading to miraculous salvations at sea, protecting sailors and travelers from drowning. She is a tutelary deity of seafarers, including fishermen and sailors, especially along coastal China and areas of the Chinese diaspora.

The two Xiang River goddesses are ancient in mythology. They are associated with the Xiang River in the former Chu area of China. They are also mythologically credited with causing a certain type of bamboo to develop a mottled appearance said to resemble tear-drops ( lacrima deae). The two Xiang River goddesses (Xiangfei) are named Éhuáng and Nǚyīng.

Water and Land Ritual painting of Guardians and Deities

Various deities or spirits are associated with certain human activities. Various deities or spirits are associated with the households in general or with cities. Some provide tutelary help to persons pursuing certain occupations or seeking to have children.

The Chinese household was often the subject of mythology and related ritual. The welfare of the family was mythologically-related to the perceived help of helpful deities and spirits, and avoiding the baneful effects of malicious ones. Of these household deities the most important was the kitchen god Zao Jun. The Kitchen God was viewed as a sort of intermediary between the household and the supreme god, who would judge, then reward or punish a household based on the Kitchen God's report. Zao Jun was propitiated at appropriate times by offerings of food and incense, and various mythological stories about him exist. Lesser deities or spirits were also thought to help out the household through their intervention. For example, the guardians of the doors, the Menshen pair and others.

Various deities and spirits have been mythologically associated with the welfare of areas of land and with cities. Some were good, tutelary guardians: others were malicious ghosts or evil hauntings.

Houtu is a guardian deity of the earth.

The Tudi or Tudigong were the spiritual dukes or gods in charge of protecting particular parcels of land, acting as the local gods of individual villages.

In old China, the city was almost synonymous with the city wall. Most cities also had a moat, made to further protect the perimeter of the city and as an artifact of building the ramparts. A City god guarded an individual city. There were many cities and many city gods.

The life of a scholar has long been pursued in China, in part due to rewarding those who study hard and do well in standardized tests. There is a whole area of myth around the Imperial examination in Chinese mythology. For example, in the area of literature, success in standardized tests, and other culture there are associated pair Kui Xing and Wenchang Wang.

There are deities mythologically associated with various intimate aspects of human life, including motherhood, general sodality and formal syndicals, lifespan and fate, and war and death. Many are currently worshiped in Buddhism, Daoism, or Chinese folk religion. Guandi is a prominent example, but there are many others.

A good example of a medicine deity is Sun Simiao, who became Yaowang. Another is Baosheng Dadi.

Bixia is mythologically connected with motherhood and fertility. She is currently a popular goddess.

The Siming is a god of lifespan and fate.

Tu'er Shen is a leveret or rabbit gay deity, patron of gay men who engage in same gender love and sexual activities.

Various deities, spirits, or other mythological beings are encountered in Chinese mythology, some of them related to the religious beliefs of China. Some of them are currently worshiped, some of them now only appear as characters in myths, and some both ways.

Fangfeng: the giant who helped fight flood, executed by Yu the Great

Feng Meng: apprentice to Hou Yi, and his eventual murderer

Gao Yao

Nezha: Taoist protection deity

Tam Kung: sea deity with the ability to forecast weather

Yuqiang: Yellow Emperor's descendant, god of north sea and wind

Daoji: compassionate folk hero known for wild and eccentric behaviour

Erlang Shen: possessed a third eye in the middle of his forehead that saw the truth

Martyred Generals Who Died for their Country and Officials of Former Times, Ming dynasty

Xingtian is a headless giant decapitated by the Yellow Emperor as punishment for challenging him; his face is on his torso as he has no head

Non-divine mythological beings are sometimes divided into several parts each ruled over by a particular type of being-humans ruled over by the Emperor, winged creatures ruled over by the phoenix, and scaly, finned, or crawly creatures ruled over by the dragon. However, whatever the approach, mythological taxonomy is not a rigorous discipline, not even as clear as folk taxonomy, much less the scientific efforts which result in modern biological taxonomy. Often, mythological creatures inhabit the furthest reaches of the exotic imagination.

The Four Symbols were four species of animals of particular intelligence (not considering humans). Each one represented and ruled over a class of animals. They are the Azure Dragon of the East, the Vermilion Bird of the South, the White Tiger of the West, and the Black Tortoise (also called "Black Warrior") of the North.

The Chinese dragon is one of the most important mythical creatures in Chinese mythology, considered to be the most powerful and divine creature and the controller of all waters who could create clouds with their breath. The dragon symbolized great power and was very supportive of heroes and gods. The conventional dragon has a certain description, however there are other dragons or dragon-like beings that vary from this description. For example, the Chi of mythology lacks horns. Dragons often chase or play with a mystical or flaming pearl. A dragon- fenghuang pairing is a common motif in art, the fenghuang often being called a "phoenix".

One of the most famous dragons in Chinese mythology is Yinglong, the god of rain. Many people in different places pray to Yinglong to receive rain. Chinese people use the term ("Descendants of the Dragon") as a sign of their ethnic identity. Shenlong is a master of storms and bringer of rain. Zhulong the Torch Dragon is a giant red solar deity. Sometimes he appears in composite snake-like, human-dragon form. There were various dragon kings. They mostly lived undersea and were of the Ao family, such as Ao Guang.

Various mythology accounting human-dragon relationships exist, such as the story of Longmu, a woman who raise dragons.

Specific dragons, or types of dragon, include: Dilong, the earth dragon; Fucanglong, the treasure dragon; Jiaolong, dragon of floods and sea; Teng, a flying creature, sometimes considered a type of snake or dragon-snake; Tianlong, the celestial dragon, sometimes associated with centipede qualities; Yinglong, the water dragon, a powerful servant of the Yellow Emperor.

The fourteenth monarch of the Xia dynasty is said to be Kong Jia, who, according to mythology, raised dragons.

Various mythology of China involves fish or fish-like beings. Part human, part sea creatures of the Mermaid () type appear. The Kun (or Peng) was a giant monstrous fish transformation of the Peng bird. Carp that leapt the dragon gate falls of the Yellow River were said to transform into dragons. This was used as a symbol for a scholar's successful graduation in the Imperial examination system.

Various snakes and reptilians appear in Chinese mythology, folklore, and religion. These range from divine or semi-divine to merely fantastic types of the bestiary sort. Sometimes the dragon is considered part of this category, related to it, or the ruler of all the swimming and crawling folk. This may include the giant marine turtle or tortoise Ao, the Bashe snake reputed to swallow elephants, a nine-headed snake monster reminiscent of the hydra known as Xiangliu, and the White Serpent from the novel Legend of the White Snake.

Some were thought to have reptile and birdlike features in the Han Dynasty.

Bronze mirror with birds from the Belitung shipwreck

Lacquered yuren (羽人) figure on a toad stand, Chu (state) of the Warring States

Various birds are found in Chinese mythology, some of them obviously based on real birds, other ones obviously not, and some in-between. The Crane is an example of a real type of bird with mythological enhancements. Cranes are linked with immortality, and may be transformed xian immortals, or ferry an immortal upon their back. Early depictions of immortals also had a birdlike appearance. The Vermilion Bird is iconic of the south. Sometimes confused with the Fenghuang, the vermilion bird of the south is associated with fire. The Peng was a gigantic bird phase of the gigantic Kun fish. The Jingwei is a mythical bird which tries to fill up the ocean with twigs and pebbles symbolizing indefatigable determination. The Qingniao was the messenger or servant of Xi Wangmu.

Other birds include the Bi Fang bird, a one-legged bird. Bi is also number nineteen of the Twenty-Eight Mansions of traditional Chinese astronomy, the Net ( Bi). There are supposed to be the Jiān (; jian ¹): the mythical one-eyed bird with one wing; Jianjian (): a pair of such birds dependent on each other, inseparable, hence representing husband and wife. There was a Shang-Yang rainbird. The Jiufeng is a nine-headed bird used to scare children. The Sù Shuāng (; su ⁴shuang ³) sometimes appears as a goose-like bird. The Zhen is a poisonous bird. There may be a Jiguang (; jíguāng).

Mythological humanoids include the former human, the part-human and the human-like, although these sometimes merge into other categories. Examples include Kui: one-legged mountain demon or dragon who invented music and dance; also Shun's or Yao's Music Master, Xiāo (; xiao ¹) mountain spirit(s) or demon(s), and Yaoguai demons.

Xian are immortal humanoid beings with a variety of depictions, usually with human features.[citation needed ]

Various mythological mammals exist in Chinese mythology. Some of these form the totem animals of the Chinese zodiac. The Chinese language of mythology tends not to mark words for gender or number, so English language translations can be problematic. Also, species or even genera are not always distinguished, with the named animal often being seen as the local version of that type, such is as the case with sheep and goats, or the versatile term sometimes translated as ox.

Fox spirits feature prominently in mythology throughout the mythology of East Asia. In China, these are generally known as Huli jing. There are various types, such as the nine-tailed fox.

Various dogs appear in the mythology of China, featuring more prominently in some ethnic cultures more than others. The zodiacal dog is featured in the Chinese zodiac.

The Bovidae appearing in the mythologies of China include oxen (including the common cow, buffalo, and the yak), sheep and goats, and perhaps antelopes (some times "unicorns" are thought to be types of antelopes).

References to oxen may include those to the common cow, the buffalo, and the yak. The zodiacal ox is one of the twelve zodiacal signs in the twelve-year calendar cycle. Yak tails are mentioned as magical whisks used by Daoist sorcerers. The ox appears in various agricultural myths.

Sheep (and/or goats) appear in various myths and stories. The zodiacal sheep is one of the twelve zodiacal signs in the twelve-year calendar cycle. A semi-mythical, semi-historical story involves the adventures of the Han diplomat Su Wu held captive among the Xiongnu for nineteen years and forced to herd sheep and/or goats.

Horses frequently gallop through Chinese mythology. Sometimes the poets say that they are related to dragons. The zodiacal horse is one of the twelve zodiacal signs in the twelve-year calendar cycle.

Various types of "unicorns" can be found in the myths, designated by the term lin, which is often translated as "unicorn". They possess many similarities to the European unicorn, although not necessarily having only one horn. There are six types of lin. One type of lin is the Qilin, a chimeric or composite animal with several variations. Xu Shen in his early 2nd century CE) dictionary Shuowen Jiezi defines what is represented by this particular lin as "an animal of benevolence, having the body of an antelope, the tail of an ox, and a single horn." Also, according to the Shuowen Jiezi, the horn was sometimes said to have been frightening in appearance to scare off would be attackers, but really flesh-tipped so as to cause no harm. Lin, or unicorns appear only during the reign of benevolent rulers. In 451 BCE, Confucius recorded that a unicorn had appeared, but was slain in a ducal hunt. Confucius was so upset upon reporting this that he set aside his brush and wrote no more. The giraffe was not well known in China and poorly described: about 1200 CE the lin and the giraffe began to trade characteristics in their mythological conceptions. It is possible that the unicorns resulted from different descriptions of animals which later became extinct, or they no longer ranged in the area of China.

Various cats appear in Chinese mythology, many of them large. Examples are Pixiu, resembled a winged lion, and Rui Shi (, Ruì Shī), guardian lions. Sometimes they are found pulling the chariot of Xiwangmu. The cat is one of the twelve annual zodiacal animals in Vietnamese and related cultural calendars, having the place of the rabbit found in the Chinese system.

Various non-bovid ungulates are encountered. Xīniú: a rhinoceros, became mythologized when rhinoceroses became extinct in China. Depictions later changed to a more bovine appearance, with a short, curved horn on its head used to communicate with the sky.

Various beings with simian characteristics appear in Chinese mythology and religion. The Monkey King was a warder of evil spirits, respected and loved, an ancient deity at least influenced by the Hindu deity Hanuman. The Monkey god is still worshiped by some people in modern China. Some of the mythology associated with the Monkey King influenced the novel Journey to the West. The xiao of mythology appears as a long-armed ape or a four-winged bird, making it hard to categorize exactly; but this is true of various composite beings of mythology.

The Longma is a composite beast, like a winged horse similar to the Qilin, with scales of a dragon.

The Four Fiends:

Hundun: chaos

Taotie: gluttony

Táowù (): ignorance; provided confusion and apathy and made mortals free of the curiosity and reason needed to reach enlightenment

Qióngqí (): deviousness

Nian: lives under the sea or in mountains; attacks children

Luduan: can detect the truth

Xiezhi (also Xie Cai): the creature of justice said to be able to distinguish lies from truths; it had a long, straight horn used to gore liars

Bai Ze: legendary creature said to have been encountered by the Yellow Emperor and to have given him a compendium listing all the demons in the world

Various mythological plants appear in Chinese mythology. Some of these in Heaven or Earthly Paradises, some of them in particularly inaccessible or hard-to-find areas of the Earth; examples include the Fusang world tree habitation of sun(s), the Lingzhi mushrooms of immortality, the Peaches of Immortality, and the magical Yao Grass. Also encountered are various plants of jasper and jade growing in the gardens of the Paradises.

Various mythological objects form a part of Chinese mythology, including gems, pearls, magical bronzes, and weapons. Examples include a wish-fulfilling jewel; various luminous gemstones, the Marquis of Sui's pearl, auspicious pearls associated with dragon imagery; and, the Nine Tripod Cauldrons which conferred legitimacy to the dynastic ruler of the Nine Provinces of China. The weaponry motif is common in Chinese mythology, for example, the heroic archer Yi is supposed to have shot down nine problematic suns with a magical bow and arrows given to him by Di Jun.

Jewels include a wish-fulfilling jewel; various luminous gemstones, the Marquis of Sui's pearl, auspicious pearls associated with dragon imagery.

Weapons include Guanyu's pole weapon, sometimes known as the Green Dragon Crescent Blade. Also: the shield and battleaxe of Xingtian, Yi's bow and arrows, given him by Di Jun, and the many weapons and armor of Chiyou.

Some myths survive in theatrical or literary formats as plays or novels, others are still collected from the oral traditions of China and surrounding areas. Other material can be gleaned from examining various other artifacts such as Chinese ritual bronzes, ceramics, paintings, silk tapestries and elements of Chinese architecture. The oldest written sources of Chinese mythology are short inscriptions, rather than literature as such. The earliest written evidence is found in the Oracle bone script, written on scapulae or tortoise plastrons, in the process of the divination practices Shang dynasty (ended approximately 1046 BCE). A copious and eclectic source of information on Chinese mythology is the written materials recovered from the Dunhuang manuscripts library, now scattered in libraries around the world.

The earliest known written inscriptions of Chinese mythology are found on the shells and bones from about 3000 years before present. These shells and bones were inscribed with records of divinatory processes during the late Shang dynasty, also known as the Yin dynasty after its capital at Yin, near modern Anyang, in Hebei province. The use of these artifacts in the study of mythology is limited to fragmentary references, such as names, at best. No actual mythological narrative is known from the Shang oracle bones and shells.

Zhou dynasty ritual Gui (vessel) vessel (the "Kang Hou gui"), with inscription barely visible on inside bottom, British Museum

Very ancient bronze pieces have also been found, especially beginning in the Zhou dynasty (founded about 3,000 years before present), with allusions or short descriptions adding to modern knowledge of Ancient Chinese mythology. The sacred or magical attitude towards some of these cast inscriptions is shown in that they sometimes appear in places almost inaccessible to being read, such as the inside of a vessel (often quite large and heavy, often covered with a lid, and perhaps meant to store food). However, there was a widespread belief that such writings were read by gods or spirits. One such vessel (a xu (), with the characters appearing on the inside-bottom) is a Zhou bronze with a 98-character description of the deeds of Yu draining the flood.

Various Chinese literature addresses the subject area of Chinese mythology. In some cases, some preservation of mythology occurs, either deliberately or incidentally. In other cases, the mythology inspires literary works which are not strictly of a mythological nature, for example works of fiction, didactic works of philosophy, or, more modernly, computer games and the names associated with Chinese explorations into outer space, the deep ocean, or the north and south polar regions. Approaching a rough organization of the topic of literature relating to Chinese mythology may be chronologic. The early textual materials mainly survive from the later Zhou dynasty; that is, Eastern Zhou, from about 450 to 221 BCE. Although these texts are relatively less editorial treated than some later texts, they are not the same as the original pre-literary myths. The next major period of textual sources for Chinese mythology dates from the start of the Qin dynasty (221 BCE), through the end of the Han dynasty (220 CE), and continuing through the end of the subsequent periods of disunity (581 CE). The surviving texts from this era often reflect evolution of the mythological substratum. Beginning with the establishment of the Sui dynasty and continuing through the subsequent Tang dynasty, Song dynasty, and Ming dynasty (ended 1644). During this period Chinese mythology developed into what now may be considered to be its traditional form. The Song literature is particularly valuable for the often verbatim transcriptions of mythological material from otherwise unpreserved earlier sources. In modern times, Chinese mythology has both become the subject of global study and inspiration, including popular culture.

Chuci and poetry sources

Some information on Chinese mythology is found in the verse poetry associated with the ancient state of Chu such as " Lisao", " Jiu Ge", and " Heavenly Questions", contained in the anthology, traditionally attributed to the authorship of Qu Yuan of Chu. The Chuci (together with some of its commentaries) in the form known today was compiled during Han, but contains some older material, dating back at least to the waning days of the Zhou dynasty (the Warring States period), prior to the 221 BCE defeat of Chu (state) during the rise of the Qin dynasty. Later poetic sources also address this mythology as a continuation of this poetic tradition, for example, Tang poetry.

Some information can be found in the Confucian Classics, such as the and , and other Zhou dynasty era material, especially Book of Rites, but also the Lüshi Chunqiu. The Book of Documents contains some Chinese myths.

The Han dynasty existed from 206 BCE - 220 CE (with a brief intermission separating it into two halves). Han was preceded by the short-lived Qin dynasty, 221 to 206 BC, which has some important surviving literature. In the Qin and Han periods, besides the Chuci, useful historical documents include the Records of the Grand Historian, completed by Han historian Sima Qian before his death in about 220 CE. Legends were passed down for over a thousand years before being written in books such as Classic of Mountains and Seas ( Shanhaijing), basically a gazetteer mixing known and mythological geography. Another major Han source on mythology is the .

Post-Han, pre-Sui disunity period

The mythologically relevant book dates to the Jin dynasty (266-420), during the Sixteen Kingdoms era. Also known as In Search of the Supernatural and A Record of Researches into Spirits, it is a 4th-century compilation of stories and hearsay concerning spirits, ghosts, and supernatural phenomena, some of which being of mythological importance, including a "great deal" of pre-Han mythological narrative.

The Tang dynasty had a flourishing literature, including prose and poetry involving mythological content. One important, partially-surviving work is by Li Rong.

Surviving Song dynasty literature informative on Chinese mythology includes the encyclopedic work known asTaiping Yulan.

Some myths were passed down through oral traditions literature, and art, such as theater and song before being recorded as novels. One example is Epic of Darkness. Books in the genre of vernacular fiction revolve around gods and monsters. Important mythological fiction which allude to these myths, include Fengshen Bang ( Investiture of the Gods), a mythological fiction dealing with the founding of the Zhou dynasty; Journey to the West attributed to Wu Cheng'en, published in the 1590s, a fictionalized account of the pilgrimage of Xuanzang to India to obtain Buddhist religious texts in which the main character and his companions such as Sun Wukong encounter ghosts, monsters, and demons, as well as the Flaming Mountains; and, Baishe Zhuan ( Madame White Snake), a romantic tale set in Hangzhou involving a female snake who attained human form and fell in love with a man. Strange Tales from a Chinese Studio, by Pu Songling contains many stories of fox spirits, and other phenomena. Another example is , a collection of supernatural stories compiled during the Qing dynasty.

Certain genres of literature are notable for dealing with themes from mythology or tales of the supernatural; for example, the Zhiguai () literary genre that deals with strange (mostly supernatural) events and stories.

The literature of India contains material about Chinese mythology, due to the influence of textual sources imported into China, and translated into Chinese and the ideas widely adopted by Chinese people. This was primarily in regard to Buddhist texts, containing Buddhist mythology from the area in and around the area now known as India. Some Hindu material may have been more directly imported.[citation needed ]

Many insights have developed through the examination of Chinese mythology as part of the field of comparative mythology, which is the comparison of myths from different cultures in order to identify shared themes, motifs, or other features. Early exponents of comparative mythology which are informative to the study of Chinese mythology include Georges Dumézil and James Frazer.

Ancient Chinese myths from various family and people groups survived for hundreds of years after they were first told and were integrated into Chinese Manichaeism.

Thousands of years of the development of Chinese mythology has resulted in Chinese mythology in popular culture, in the sense of popular culture affected or inspired by this tradition. This includes television shows, cinema, and video games. Also, many of the vehicles associated with the modern Chinese space program are named after mythology, such as the lunar explorer Chang'e 4 that achieved the first soft landing on the far side of the Moon, on 3 January 2019, and named after the lunar goddess Chang'e associated and with a communications relay satellite Queqiao, named after the lovers bridge over the Milky Way formed by magpies.

Christie, Anthony (1968). . Feltham: Hamlyn Publishing. ISBN 0600006379.

Eberhard, Wolfram (2003) [1986]. A Dictionary of Chinese Symbols: Hidden Symbols in Chinese Life and Thought. London, New York: Routledge. ISBN 0-415-00228-1.

Ferguson, John C. (1928). "China". Mythology of All Races. Vol. VIII. Archaeological Institute of America - via archive.org.

Hawkes, David (2011) [1985]. The Songs of the South: An Ancient Chinese Anthology of Poems by Qu Yuan and Other Poets. London, England: Penguin Books. ISBN 978-0-14-044375-2.

Latourette, Kenneth Scott (1947). The Chinese: Their History and Culture (3rd Revised ed.). New York: Macmillan.

Legge, James (1963) [1899]. The I Ching: The Book of Changes Second Edition. New York: Dover. LCCN 63-19508.

Paludan, Ann (1998). Chronicle of the Chinese Emperors: The Reign-by-Reign Record of the Rulers of Imperial China. New York, NY: Thames and Hudson. ISBN 0-500-05090-2.

Schafer, Edward H. (1963). The Golden Peaches of Samarkand. Berkeley, CA: University of California Press.

Siu, R. G. H. (1968). ""Preface" and "Introduction"". The Man of Many Qualities: A Legacy of the I Ching. Cambridge: Michigan Institute of Technology Press. LCCN 68-18242.

Werner, E.T.C. (1922). Myths and Legends of China. New York: George G. Harrap & Co. Ltd.

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Chinese mythology ( simplified Chinese: 中国神话; traditional Chinese: 中國神話; pinyin: Zhōngguó shénhuà ) is mythology that has been passed down in oral form or recorded in literature throughout the area now known as Greater China. Chinese mythology includes many varied myths from regional and cultural traditions.

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This project was really fun because it gave me the imagination to think of myself as a boss. I chose to be the boss of a boba store because I really enjoy drinking boba and so do other people. It also gave me the chance to research some more information about my favorite boba place, also known as Half and Half.
这个项目真的很有趣，因为它给了我想象自己是老板的想法。 我选择了做波霸店的老板，因为我喜欢喝波霸，其他人也是。 这也让我有机会研究一些关于我最喜欢的波霸地方的更多信息，也被称为Half and Half。

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Beijing was a fun place to research about because I always wanted to go to Beijing. I want to go to the Great Wall and learn more about China's history. Another reason is because I really like their roasted duck and it tastes delicious if you eat it with bread. If I have a chance to go to Beijing, then I wouldn't want to miss out on it.
北京是一个很好玩的地方，因为我一直想去北京。 我想去长城，了解更多关于中国的历史。 另一个原因是因为我真的很喜欢他们的烤鸭，如果你用面包吃，它的味道很好吃。 如果我有机会去北京，那么我不想错过这个机会。

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最为一个历史学家我推荐旅游者们去北京。北

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最为一个历史学家我推荐旅游者们去北京。北京是中国的首都，那里拥有者美景和美食。最让人难忘的就是北京烤鸭了。北京的长城是全世界闻名的。旅游者到了那里可以感受中国古老的文化和历史。北京的雾霾比较大，我建议旅游者们戴口罩。
As a Chinese historian, I recommend tourists to the capital of China, Beijing visit. In Beijing, the most famous food is Beijing roast duck, tourists are very enjoy the food and beauty there. Beijing has a world-famous Great Wall, many tourists will walk in the Great Wall, feel the ancient Chinese culture and atmosphere. Beijing is also a city that represents China's history and culture a few years ago. I suggest that tourists go to Beijing to bring a mask because the haze is more serious. Beijing has been able to become the capital because it represents the Chinese culture, is a people admire the tourist destination.

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大家好，我是Half and Half的老板。我们的店是卖波霸奶茶和不同的小吃。我们在2008年在San Gabriel 开了第一家店。因为受到很多顾客的喜爱，我们开了很多分店。因为我们的奶茶和小吃都非常的新鲜和美味，我们的店赚了很多钱。我们店里用的最多的配料是来来自于台湾。每一天我们的顾客都需要排队。我们的员工的目标是使所有的顾客满意每一次的食物。因为我们的店一般受到年轻人的喜爱比较多，我们的店在为高中生提供兼职工作机会。
Hello everyone, I am the boss of Half and Half. Our shop sells boba milk tea and different snacks. We opened our first store in San Gabriel in 2008. Because of the love of many customers, we opened a lot of other stores. Because our milk tea and snacks are very fresh and delicious, our shop makes a lot of money. The most used ingredients in our shop come from Taiwan. Every day our customers need to line up. The goal of our staff is to satisfy every customer with every single meal. Because our stores are generally much loved by young people, our store offers part-time job opportunities for high school students.

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~十月四日
~月饼的由来
~嫦娥
~月兔
~吴刚

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Chinese Moon Cakes for Mid Autumn Festival 【月餅対決】中国対日本！

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Today we're celebrating the Moon Festival with some traditional Chinese Mooncakes. We also compare them to the Japanese Mooncakes to see how different they are. Thanks to my friend Laurence for bringing this wonderful gift to us all the way from Hong Kong. Subscribe for more videos!

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~October 4
~The Origin of Moon Cake
~Chang E
~Moon Rabbit
~Wu Gang

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All drawings were drawn by me Sources used: The Legend of Chang E." Joe Pastry. N.p., n.d. Web. 27 Sept. 2013. http://www.joepastry.com/2013/the-legend-of-chang-e/. "Mid-Autumn Festival Stories." ChinaHighlights. N.p., n.d. Web. 27 Sept. 2013. http://www.chinahighlights.com/travelguide/festivals/mid-autumn- festival-story.htm. "Traditional Chinese Festivals - China.org.cn." Traditional Chinese Festivals - China.org.cn. N.p., n.d. Web. 27 Sept. 2013.