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- Flutes in the Garden: A Story of Miracles and the Magic of Life by Chip Richards
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At sunset, the temple complex door is closed and everyone leaves. Anyone who attempts to stay at night loses vision, hearing and speaking abilities.
Flutes in the Garden: A Story of Miracles and the Magic of Life by Chip Richards
About 10 years ago, a Krishna devotee hid in Nidhivan to see the Raas-Leela. When the gate was opened next morning, he was found in an unconscious state. His mental balance had been disturbed. It is said that one of the Gopis, Vishakha, felt thirsty during the course of Raas-Leela. Krishna dug a hole with his flute, which got filled with water. It quenched Vishakha's thirst. The name of this Kund has since been called Vishakha Kund. Nidhivan has Rang Mahal. Radha and Kanhaiya visit this every night. The sandalwood bed kept for Radha and Kanhaiya in Rang Mahal is decked up with flowers before 7 pm every day.
Lotus water among other things are kept near the bed. It is said that music maestro Swami Haridas would sing devotional songs in Nidhivan.
Banke Bihari Ji, pleased with his devotional music, told him in a dream that he will reside in this place. EachTulsi plant is in a pair. Plucking basil leaves from this temple complex is prohibited. People say that disaster struck those who took them. So, no one touches basil plants.
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While mime is one type of movement important in Chinese opera, another is dance. Some characters may dance almost constantly as they sing or speak. In fact, gesturing and even walking are considered arts in themselves. One of the most popular features of Chinese opera is its acrobatics.
All actors are trained in it, but it is the specialty of those who portray battle scenes. In these scenes, it is combined with stage fighting skills such as swordplay and kung fu. This fighting, though, is stylized rather than realistic. No one dies onstage, and serious wounds are unlikely from spears tipped only with red ribbon.
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The attraction for the audience is not an illusion of violence but the incredible physical skills and interplay of the actors. Chinese opera costumes are colorful, lavish, extravagant—a visual feast. Actors might wear richly embroidered coats, ceremonial robes, or full armor, along with elaborate headgear. Based loosely on fashions of several centuries ago, these costumes are not really meant to represent any historical period, or even to suggest a time of year.
Some costume elements are purely for show. Warrior helmets are often graced by two pheasant feathers rising high, while armor is often augmented by four pennants jutting out from the back. Both additions create impressive effects during acrobatics. The colors are bright—red, purple, black, white, blue, green, yellow—and are most often combined two or more in a complex pattern. As with costume, the purpose is both to appeal to the eye and to tell about the character. The colors represent strong personality traits—for instance, red for heroism, white for villainy. Some patterns identify particular characters or animals.
Most other actors make up their faces with white powder, plus rouge to highlight the mouth, eyes, and eyebrows. Male clowns announce themselves with a patch of white paint around the nose and eyes. The music in a Chinese opera is based on one or more standard melodies arranged to fit that opera. These melodies generally come from local musical tradition, and so will vary from one regional opera to another.
Beijing Opera has drawn from a number of regional operas for its own large stock of melodies. Traditionally, the music is played by six or seven musicians who sit in a back corner of the stage, in full view of the audience. Their instruments include traditional Chinese varieties of the fiddle, the banjo, the guitar, the flute, and the oboe, plus drums, gongs, cymbals, and a wooden clapper.
The musicians interact closely with the actors, not only accompanying songs, but also punctuating the action and the dialog with percussion, much as in an American circus. Today, when a stage is Western-style, the musicians sit instead in the wing or in the orchestra pit.
And their instruments might now include others from both China and the West—even an electric guitar! Much on Chinese opera can be found by searching the World Wide Web. You might also look for Chinese opera videos at your library or at Web sites of Chinese video suppliers.
The legend of White Snake is one of the most popular tales of China, with countless versions in folklore, literature, and drama. The thirteenth century saw the first literary versions, no doubt borrowed from professional storytellers in the streets of Hangzhou. It first appeared on stage in the fourteenth century, and the story is today one of the most often performed in Chinese opera. This legend, though, has changed drastically from its beginnings. Over time she was portrayed more sympathetically, and popular sentiment came to side squarely with the lady and her quest for love.
Nowadays in China, political interpretations are also common—but the story can be approached from many angles. Here are some notes on important elements of the story. Some earlier spellings are given in parentheses to help you recognize names in older books. In fact, with over a million people, it was the largest, richest, and most culturally advanced city in the world. Just outside Hangzhou lies the wondrously lovely West Lake.
This lake with its surrounding hills is a fairyland of lotuses, willows, peach and plum trees, pavilions, pagodas, temples, and ornamented boats. The White Snake legend came to be linked to Thunder Peak Pagoda, once the most prominent landmark of the south shore.
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The pagoda, though, collapsed in —an event reflected in modern endings to the legend, like the one here. Another landmark in the story, Broken Bridge, is still standing despite its name. There are several ideas about how it got that name, but we may never really know. Gold Mountain—actually a hill—was at the time of the story an island in the Yangzi, though the shifting river has now left it on the shore. Kunlun is said to be home to the most important Taoist goddess, the Queen Mother of the West, along with other gods and human Immortals.
The job of this god is to decide how long each person will live. Chinese herbal medicine, miracle mushroom. Illnesses are diagnosed by several methods, including analyzing the pulse and examining the tongue. It is a large woody mushroom that grows wild on decaying logs and stumps in coastal China. Herbalists recommend it for a wide variety of conditions, including AIDS and the side effects of chemotherapy.
Have a Ball With These Memorable Cinderella Quotes
Dragon Boat Festival, realgar wine. The Dragon Boat Festival, named after the colorful boat races on that day, is one of the three most important holidays of the Chinese year. It falls on the fifth day of the fifth lunar month—about the first week of June. Formerly, it was the custom during the festival to drink wine mixed with realgar—arsenic sulfide—in the belief that the foul odor repelled snakes.
These and other poisonous animals are at their most troublesome at this hot time of year, and the festival day is considered especially unlucky in this regard. Nowadays realgar wine is rarely drunk but may still be rubbed on the skin. Though I consulted numerous versions of the legend, I based my retelling on the best-known and most influential one from modern Chinese opera, by the eminent author Tian Han. Mitchell, Godine, Boston, Names here are as spelled in each book.
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