國采朝章-清代宮廷服飾 The Splendours of Royal Costume Qing Court Attire

Emperor Yongzheng's dragon robe with ermine lining

Emperor Yongzheng’s dragon robe with ermine lining

遊牧民族滿族生活於寒冷的白山、黑水地區,擅於騎馬、射箭、打漁和捕獵。滿人平素穿著服飾乃考慮日常生活所需而設計,進入中原後,仍保有傳統的服裝風格,例如:緊身窄袖、馬蹄袖、大披頷及動物皮毛製品。其後融合了漢族的紋飾和色系,發展出別具一格的滿族服飾

清朝的服飾制度比其他朝代更為繁瑣,上自皇帝,下至眾臣、皇家子嗣、貴族婦女……等,無論處理國家大事或燕居後宮,均須遵照嚴格規定。

宮廷服飾階級分明,滿漢文化特徵俱備,服裝雍容華貴、織繡精細、裝飾獨特。(香港歷史博物館,2013)

An informal dress of the Empress of Guangxu

An informal dress of the Empress of Guangxu

The Manchus living in the cold mountains in northeast China subsisted on horseback hunting and fishing. Their costumes were specifically designed to facilitate their distinct lifestyle. After ruling over China, the Manchus still kept traditional features of their costumes, e.g. tight-fitted cut, narrow sleeves, horse hoof-shaped cuffs, flared collars and the lavish use of animal fur. Besides, traditional Han decorative motifs and color schemes were also adopted.

The Qing costume system was notably the most elaborate among all dynasties, ‘strictly governing the wardrobes of the emperor, the state officials and the male and female members of the royalty and aristocracy, on all formal state occasions as well as during leisure times in the inner court.’ (Hong Kong Museum of History, 2013)

Qing costume was characterized by having elaborate rules with hierarchy and a fusion of Manchu and Han cultural elements, representing the highest standard of Qing costume production. I.e.  elaborate, elegant, luxurious and resplendent, exquisitely woven and embroidered, and uniquely decorated as well. (Hong Kong Museum of History, 2013)

References:

心經 Heart Sutra

因著難以言喻的機緣,數年前皈依成為佛教徒。多年來一直很喜歡心經,沒有特別的理由,反正就是喜歡。很久以前就想寫一篇心經簡介,無奈自己水平不足,遲遲未能下筆。最近在香港大學的美術博物館,看到一本心經簡介的小冊子,寫得真的很好。「獨樂樂不如與眾樂樂」,決定在此和大家分享。下述中英文專業資料轉載自香港大學美術博物館的《心經簡介》,以及楊春棠先生的《心經簡譯》。

With good timing, I became a Buddhist some years ago. I enjoy reading the Buddhist classics “Heart Sutra” and always wish to write an article to share with the public. However, because of my limited knowledge, I am unable to complete it until today. Being inspired by the booklet produced by the University Museum and Art Gallery of the University of Hong Kong, I am happy to introduce this famous Buddhist classics “Heart Sutra” to all of you. The following information is published by University Museum and Art Gallery, the University of Hong Kong, and the interpretation is written by Mr. Yeung Chun Tong.

「般若波羅蜜多心經,亦稱般若心經或心經,全文共二百六十字,乃字數最少,但最廣為人知的大乘佛經。全文概述「空」的理念,亦即佛陀教義核心所在,被視為佛陀智慧的昇華,通達「心空無物」,證悟佛教真實自在的境界。

自三世紀以來,心經共有二十一種漢文譯本,鳩摩羅什和玄奘大師所譯之版本舉世流通。心經在中國、韓國和日本廣為流傳。千載以來,東亞僧侶及普羅信眾不斷傳誦。歷來的心經註解約有一百多種,現存約八十種。

初次閱讀心經,可能感到非常困難,無法瞭解箇中意義,因其理念非比尋常。唯有開放自己,內省沈思,方可領悟蘊涵的宇宙奧祕及生命真理。」

Introduction to the “Heart Sutra”:

“The Heart Sutra, also known as the Heart of Prajna-Paramita Sultra, with 260 words is the shortest and the most popular Mahayana sutra. It contains a concise articulation of the meaning of emptiness (Sunata), which is at the heart of the Buddha’s teachings. It is therefore regarded as the summation of the Buddha’s wisdom. It explains the teaching of non-attachment.

Since the third century, this sutra has been translated into Chinese 21 times. By far the most popular of these are the renditions by the monks Kumarajiva 鳩摩羅什 and Xuanzang 玄奘. Very popular in China, Korea and Japan, these versions have been chanted daily throughout East Asia by clerics and laypeople for over a thousand years. Among 100 different types of commentaries on the sutra, 80 are still in existence.

If you have not read the “Heart Sutra” before, you may find its unfamiliar way of thinking difficult to comprehend. If one is open-minded, and contemplates carefully its message, the “Heart Sutra” will reveal the entire secret of the truth of the universe and life and reward all those who seek to understand it.”

般若波羅蜜多心經原文(玄奘大師譯本):

「觀自在菩薩   行深般若波羅蜜多時   照見五蘊皆空   度一切苦厄   舍利子   色不異空   空不異色   色即是空   空即是色   受想行識   亦復如是   舍利子   是諸法空相    不生不滅   不垢不淨   不增不減   是故   空中無色   無受想行識   無眼耳鼻舌身意   無色聲香味觸法   無眼界   乃至無意識界   無無明   亦無無明盡   乃至無老死   亦無老死盡   無苦集滅道   無智亦無得   以無所得故   菩提薩埵   依般若波羅蜜多故   心無罣礙   無罣礙故   無有恐怖   遠離顛倒夢想   究竟涅盤   三世諸佛   依般若波羅蜜多故   得阿耨多羅三藐三菩提   故知般若波羅蜜多是大神咒   是大明咒   是無上咒   是無等等咒   能除一切苦   真實不虛   故說般若波羅蜜多咒   即說咒曰   揭諦揭諦   波羅揭諦   波羅僧揭諦   菩提薩婆訶」

楊春棠先生註釋解說之心經簡譯:

「觀自在菩薩指出,當修行至極高智慧,而到達彼岸(自在的境界),便知道身體和精神是變化無常的,凡事毋需執著,就能超脫一切苦惱和困厄。

舍利子提示,物質(色)不斷地變化,而變化(空)離不開物質本體。物質和變化兩者是分不開的。而在精神方面(受、想、行、識),變化同樣地永無休止。

一切事物(諸法)都有互相對立的現象,因此不須固執生存或滅亡,汙垢或潔淨,增加或減少。精神的感受,感官的作用(色、聲、香、味、觸、法),以至產生的知識概念均無獨存的一邊,它們互相依存而變化。

人生的歷程就是流轉不息,起結無定。做事修行不可執著四聖諦(苦、集、滅、道),即沒有獨存的問題,和獨存的解決之道,沒有既定的智慧和成果,一切對象都不會獨立存在。

若依智慧而到彼岸,心中便沒有任何牽掛。由於沒有牽掛,就不會有恐懼,而能拋開煩惱,超脫生死,達到清淨自在的境界。

所有佛(過去、現在、未來)是這樣得到圓滿的覺悟。因此種關係,依智慧到彼岸的道理是神通廣大的、正大光明的、無以上之的。它是無可等同的咒語,能去除一切苦厄,切實而不虛假。

提升智慧,抵達彼岸,獲致正覺成果。」

English translation of the “Heart Sutra”, published by the University Museum and Art Gallery:

“Bodhisattva Avalokitesvara (觀自在菩薩):when practising the perfection of wisdom (Prajna-paramita)(行深般若波羅蜜多時), one clearly sees that the five skandhas (senses) are all empty (照見五蘊皆空), and thus he attains deliverance from all sufferings (度一切苦厄).

Sariputra: matter is not different from emptiness ( 舍利子,色不異空), and emptiness is not different from matter (空不異色). Matter is then emptiness and emptiness is then matter (色即是空,空即是色). So too are sensation, recognition, volition and consciousness (受想行識,亦復如是).

Sariputra: the empty character of all dharmas is that (舍利子,是諸法空相) it neither arises nor ceases (不生不滅), it is neither pure nor impure (不垢不淨), and neither increases nor decreases (不增不減).

For this reason, in emptiness there is no matter (是故空中無色), no sensation, recognition, volition or consciousness (無受想行識), no eye, ear, nose, tongue, body, or mind (無眼耳鼻舌身意), no sight, sound, scent, taste, tangibles, or dharma (無色聲香味觸法), no limit to what the eye beholds and no limit mental consciousness (無眼界,乃至無意識界).

There is no ignorance nor the ending of ignorance (無無明,亦無無明盡). There is no age and death, nor the end of old age and death (乃至無老死,亦無老死盡), no ending of suffering, and no path to the extinction of suffering (無苦集滅道). There is no wisdom and also no attainment (無智亦無得). Because there is nothing obtainable (以無所得故), Bodhisattvas through their reliance on Prajna-paramita (菩提薩埵,依般若波羅蜜多故), have no attachment and hindrance in their minds (心無罣礙). Because there is no more attachment and hindrance (無罣礙故), there is nothing to fear (無有恐怖). Departure from inverted and illusory ideas (遠離顛倒夢想) leads ultimately to the Final Nirvana (究竟涅盤).

Because the Buddhas of the three realms (past, present and future) all rely on Prajna-paramita (三世諸佛,依般若波羅蜜多故), they attain Annutara-samyak-sambodhi (得阿耨多羅三藐三菩提).

Therefore, you should realize that Prajna-paramita (故知般若波羅蜜多) is the great wondrous mantra (是大神咒), the great radiant mantra (是大明咒), the unsurpassed mantra (是無上咒), and the unequalled mantra (是無等等咒). It can eradicate all sufferings (能除一切苦) because it is genuine and not false (真實不虛). Therefore, utter the Prajna-paramita mantra (故說般若波羅蜜多咒).

Chant (即說咒曰): Gate Gate Paragate Parasmagate Bodhisvaha (揭諦揭諦   波羅揭諦   波羅僧揭諦  菩提薩婆訶)!” (Yeung, 2011)

Please click on the hyperlink for another great interpretation of the “Heart Sutra” by Mr. George Boeree, Ph.D. —  “Heart Sultra”

Reference:

  • Yeung, C. T. (2011) Heart Sutra. HK: The University of Hong Kong

 

 

埏埴巧工 Gems of Chinese Ceramics

Vase with Chi dragon and peony scroll design in underglaze blue

Vase with Chi dragon and peony scroll design in underglaze blue

中國陶瓷自數千年前手捏低溫焙燒的陶瓷,發展至胎薄釉美,造型設計巧奪天工的各朝瓷器,陶瓷工藝成為中國國粹之一,舉世聞名、揚名全球。

陶瓷工藝源於實用,其後以典雅美觀取悅於人。 從越窯瓷器,得以品味唐代之茗茶風尚;從外銷瓷器,得以一窺中國古代之對外貿易;從貢瓷的規模,得以想像當年宮廷之豪華奢逸。(埏埴巧工, 2011)

欣賞陶瓷展覽,細讀相關解說,令人深深陶醉於文學藝術交融之境界。

Developing from raw potteries to exquisite dynastic porcelains, Chinese ceramics possess a heritage of technical excellence and inspiration.
Chinese ceramics were originally created for daily use. Through gradual development, the ceramics have impressed worldwide people with the supreme craftsmanship. The jade-like Yue wares inspire the tea drinking vogue of the Tang dynasty. The exporting porcelains represent the history of China’s international trade. Tribute ceramics provide a glimpse of the Imperial court’s extravagance. (Gems of Chinese Ceramics, 2011)
I immerse myself in the world of art  and literature by admiring the Chinese ceramics exhibition and perusing the relevant literature explanation.
Reference:
  • Gems of Chinese Ceramics. HK: Chinese Antiquities Gallery, Hong Kong Museum of Art
  • Available: http://www.lcsd.gov.hk/ce/Museum/Arts/english/aboutus/aboutus.html

爐火純青:嘉靖及萬曆官窯瓷器 The Fame of Flame: Imperial Wares of the Jiajing and Wanli Periods

Large Blue and White Jar Decorated with One-Hundred-Boys-At-Play Wanli Period, Ming Dynasty Heigh:29.2cm Width:26.5cm Foot rim:18cm

Large Blue and White Jar Decorated with One-Hundred-Boys-At-Play Wanli Period, Ming Dynasty Heigh:29.2cm Width:26.5cm Foot rim:18cm

本次香港大學美術博物館展出的明代官窯瓷器,主要生產於嘉靖萬曆年間,突出了明朝瓷器在工藝與技術上的輝煌成就。

景德鎮的瓷器工藝以青花瓷為生產主軸,朝廷在景德鎮設立御用製窯廠燒製大量御用瓷器,明代青花瓷的發展水平達到歷史上的巔峰。(爐火純青:嘉靖及萬曆官窯瓷器, 2010) (Ho, 2009)

An exhibition of late Ming ceramics is held in the University Museum and Art Gallery, the University of Hong Kong. This exhibition features over 120 pieces of imperial wares,  chosen from the collection of the University Museum and Art Gallery and local private collectors to demonstrate the technical innovations and refinements of the porcelain industry of the late Ming period.

In the Ming Dynasty (1368-1644), blue and white porcelain was the mainstream genre for porcelain production. With vast amount of imperial patronage, the ceramic industry at Jingdezhen experienced further development. Official kilns were set up to cater exclusively to the needs of the imperial household. (Ho, 2009)

Because of Jiajing’s fascination with religious Taoism as a means to longevity, motifs from Taoist symbolism such as the auspicious shou character, the cranes, the eight immortals and the Taoist emblems were frequently used as decorative elements. Simultaneously, the quality of polychrome porcelain filled with colorful patterns known as wucai improved and was also successfully produced at the Jingdezhen kilns.

Reference:

  • Ho, Y. H. (2009). The fame of flame: Imperial wares of the Jiajing and Wanli periods. HK: The University of Hong Kong
  •  http://www0.hku.hk/hkumag/mc/main.html

雍雅華章 – 漢代貴族生活 Legends of Luxury and Elegance – Lifestyles of the Han Nobility

ex_special_han_nov09_01西漢與東漢歷時四百餘年,兩漢國勢強盛,是中國歷史上歷時最長的帝制王朝。漢帝國的恢弘氣度,從當時貴族生活奢華的情形可見一斑。漢代貴冑錦衣玉食,日常器皿、衣物裝飾無不製作精巧,平日注重養生之道,死後則期盼羽化登仙。

漢代的宮苑宅第雖已消失於歷史洪流之中,但湖南長沙國王室墓、馬王堆漢墓等墓葬的挖掘,令人得以解讀這段傳奇的歷史。

馬王堆漢墓出土的文物,瑰麗紛陳。雍雅華麗的出土文物,引領我們認識漢初長沙國貴族社會的饗宴文化、工藝製造、養生保健、衣飾美容、典籍收藏,以至生死觀及求仙思想,並凸顯當代農業、手工業、音樂、舞蹈、紡織、醫藥和天文曆法各方面的成就。

( 上述資料及有關圖片均取材自香港歷史博物館 )

Stretching over four centuries, the Han is regarded as a golden age in Chinese history.  Divided into the Western Han and Eastern Han, both of which were powerful empires. It was the longest imperial dynasty in China.  The splendor of the Han empire found expression in every facet of the luxury that its nobility indulged in.  From the utensils they used to the extravagant clothes they wore, the Han nobility paid meticulous attention to every detail of their lives, their health in particular.  Their preoccupation with immortality led them to fantasize about the mysterious ways to ascend to heaven and eternal life.

ex_special_han_nov09_06Even though the magnificent palaces and buildings of the Han dynasty have long been lost to history, the archaeological excavations of the Han tombs discovered at Mawangdui and the royal tombs of the Changsha kingdom in Hunan province offer us a glimpse of this legendary period.

The great variety of artefact unearthed from the tombs at Mawangdui helps us visualize the luxurious and elegant lifestyle of the Han.  Taking us back to the time of the ancient kingdom of Changsha and into the home of a noble family, these historical relics provide details about the diet and health practices, the arts and crafts, the costumes, accessories and cosmetics as well as the scholarship of this period and the Han people’s view of the afterlife.  They underscore the Han dynasty’s accomplishments in agriculture, craftsmanship, music, dance, textile processing, medicine, astronomy and the calendar.

Reference:

十月圍城 Bodyguards And Assassins

十月圍城 Bodyguards and Assassins

中、港、台傳媒近日不斷宣傳耗資上億的大卡司製作“十月圍城”,令這部電影備受矚目。故事情節簡介如下:

本故事發生於一九零六年十月十五日維多利亞城(現名香港)。

歷史上的那一天,孫中山先生抵達香港,籌畫革命起義。為了杜絕民主思想的萌芽,滿清王朝派出冷血殺手刺殺孫中山先生。

保護孫中山先生的重任,就落在支持革命的富商李玉堂跟中國日報社長陳少白身上。他們找來身懷絕技的市井小民,對抗滿清王朝的暗殺軍隊。

奉命保護孫中山先生的無名英雄包括:黃包車車伕、在戲班裡唱戲的女孩、沿街叫賣臭豆腐的小販、潦倒路邊的乞丐,還有一位原先被清廷收買,但後來卻變節保護孫中山先生的賭徒。

一場又一場的血鬥,就在一九零六年的香港展開。革命烈士們滾燙的鮮血滴在維多利亞冰冷的石板上。

身處戲院,感受震撼的情節,不禁為革命先烈們拋頭顱、灑熱血的愛國情懷感動流淚。

The movie: Bodyguards and Assassins is highly recommended by the newspapers and other communication media recently. Here is the summary of this mentioned movie:

This incident took place on October 15, 1906 Victoria City (now Hong Kong). On the mentioned day, Dr. Sun Yat-sen arrived in Hong Kong to plan the revolutionary activities. For stopping the democracy revolution,  Qing dynasty officials tried whatever they could to kill Dr. Sun Yat-Sen.

For protecting Dr. Sun Yat-sen, the businessman Li Yutang and the Daily News founder Chen Shaobai recruited people with great talent of martial arts to fight against the Qing Dynasty’s assassination troop.

These heroes included: rickshaw puller, the female actress in the opera troupe, the street hawker, the begger and a gambler, who was Qing army previously.

This movie is incredibly awesome with the touching story, professional actors, great martial arts … The theater audience are touched by this shocking battle in 1906, and cannot but cry for those who died in this assassination incident.

 

祥和 - 中國智慧之光 Peace and Harmony – The Divine Spectra of Manjusri enshrining the Wisdom of China

peace1參觀近日香港大會堂展覽廳的文殊菩薩尊像珍藏展,內心平靜而祥和。

文殊菩薩能化一切無明煩惱,故名大智。相傳清太祖努爾哈赤自詡為文殊轉世,承傳其智慧,將女真族改名為滿族。清朝歷代皇帝均被稱文殊菩薩之化身。

文殊菩薩代表智慧,此展覽彰顯中華民族追求和諧的本性,讓眾生了解祥和的真諦,希望眾生能體現生命真理並尋求心靈清淨。

這次展出的藝術珍藏包括唐卡、象牙、玉石、瓷雕、塑像……等。前人的非凡工藝,見證了絲綢之路在佛教藝術史的發展上擔當重要角色,有助各界對世界歷史及文化遺產的認識,並為世界帶來了祥和。(Exhibition Details Booklet, 2009)

(上述有關專業資料來自主辦單位所提供之展覽詳情小冊)

peace2While watching the 108 pieces  of Manjusri and related artifacts displayed in the exhibition hall of Hong Kong City Hall, I feel peace and harmony.

Manjusri, possessing the strength to save mankind from miseries, is regarded as the apotheosis of transcendental wisdom.  A legend about Qing Taizu Nurhaci (the founder of the Qing Dynasty) recounts that he believed himself was a reincarnation of Manjusri, had inherited such wisdom, and had changed the name of his tribe from Jurchen to Manchu.  For over two centuries of Manchu rule, Qing emperors claimed to be Manjusri transformed.

The Manjusri theme aims to exemplify the Chinese nation’s natural instinct to pursue peace and harmony.  It allows the public to appreciate the essence of such a pursuit and to achieve purification through the spiritual experience.

peace4The exclusive artifacts on display – thangkas, ivory, jade and porcelain carvings as well as gold and bronze castings – are the fruitful expressions of devotion and artistic talents of ancient craftsmen.  Such artifacts evidence the significance of the Silk Road in the development of Buddhist arts.  It also help enhance the understanding of world history and heritage, and eventually bring peace and harmony.

Reference:

  • Exhibition details booklet: Peace and harmony 祥和-中國智慧之光. (2009) Hong Kong

遼寧省博物館藏畫展 A Selection of Paintings from the Liaoning Provincial Museum

200907_01_banner本月二十五日至十一月二十二日香港藝術館舉行的“繁華都市 – 遼寧省博物館 藏畫展”,令十五件遼寧省博物館裡頗具代表性的明朝和清朝繪畫一一呈現香港民眾面前。此批畫作呈現江南地區的都市生活和社會風貌,展品以手卷居多。細緻的場景,令人置身其中,感受中國古代社會的生活風貌。

展品包括「明四家」沈周、唐晏、文徵明與仇英的作品,反映出文人崇尚風雅,追求逸趣的藝術取向。亦包括昔日清朝康熙皇帝和乾隆皇帝的清宮收藏。此批明清畫作, 讓民眾透過筆墨丹青一窺古代的人文風景,並探究帝王的心思意念。

15 Ming and Qing dynasties paintings from the Liaoning Provincial Museum are displayed in the “Hong Kong Museum of Art”  from September 25 till November 22.  These handscrolls transport the viewers to ancient Chinese cities and thoughts of what it must have been like to live there.

Artworks created by “Four Masters of the Ming Dynasty” — Shen Zhou, Tan Yin, Wen Zhengming and Qiu Ying, inspire viewers to partake in the literary gatherings, tea parties, chess games and other elegant pastimes.  Some Qing Dynasty imperial collection from Kangxi and Qianlong emperors are also displayed in this exhibition.

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Reference:

  • A Selection of Paintings from the Liaoning Provincial Museum, HK: Hong Kong Museum of Art

第二屆香港胡琴節 The 2nd Huqin Festival of Hong Kong

最近去了香港大會堂聆聽香港胡琴節的一場音樂會。溫金龍、高韶青、段皚皚和張重雪等二胡演奏家在其演奏曲目和形式上,為二胡音樂會增添眾多嶄新的音樂元素,也為二胡音樂注入強烈的現代氣息、充滿激情的生命力量,呈現出二胡從未有過的全新面貌。

西方樂器和其他民族樂器,均可和二胡產生新的風格和音樂效果。恰當地運用電腦科技,令二胡音樂進入數位化的科技境界。

本屆香港胡琴節,一連串精彩的胡琴音樂會及活動,令全城洋溢著濃鬱的情與樂。馥鬱芳香、動人心魄!

Recently I attended one of the Huqin concert held in Hong Kong City Hall. A whole new world of Erhu music is opened by innovative artists like Kenny Wen, George Gao, Duan Aiai and Zhang Chongxue. The passions and energies they inject into erhu music have created a new, modern identity for the instrument.

Various types of percussion instruments, even exotic instruments of the world can partner up with the Erhu to create new styles and new musical effects. When combined with computer technology, Erhu music enters the new realm of digital sounds as never before.

The series of Huqin concerts and related activities – all of which make the city filled with emotion and joy. The music touches us at the deep heart’s core.

Reference:

  • The brave new world of Huqin, the 2nd Huqin festival of Hong Kong

孔孟故鄉山東 Shandong – Hometown of Confucius and Mencius

半個月的復活節假期是個充電的好時機,趁此機會前往至聖先師孔子和亞聖孟子的故鄉山東省,印證年少時從書本上學來的春秋戰國時代的齊魯文化,不啻最佳的文化熏陶。

在中國風箏之都濰坊,看到了各式各樣的風箏;在泰安,登上了東嶽泰山,體驗孔子 “登泰山而小天下”之情;在齊魯文化搖籃淄博,看到了距今二千六百多年,為一九九零年的中國十大考古發現之一“臨淄車馬坑”;在省會濟南,親臨七十二名泉之中的趵突泉和黑虎泉;在青島啤酒的發源地青島,身處德國殖民地建築區,想像當年德國統治青島的景象……。

讀萬卷書,不如行萬里路。山東之旅令我對中國的歷史文化有了更深刻的瞭解。

For understanding the Qi and Lu culture (during Spring and Autumn Period), I went to Shandong Province – the hometown of Confucius and Mencius.  It is awesome cultural trip!

At Weifang, I saw a variety of kites designed based upon Chinese myth/legendary.  At Tai’an, I explored the Taishan Mountain where Confucius was amazed at its wander.  At Zibo, I visited one of the ten  biggest archeology discoveries found in 1990 — “The funerary chariots and horses”.  At Jinan, I went to the Black Tiger Spring and Baotu Spring, which are two of the “72 famous springs” since Ming and Qing Dynasties. At Qingdao, I watched the Germany colonial buildings built during Qing Dynasty.

To see is to believe.  After this Shandong trip, I have better understanding of the Qi and Lu States’ culture.