Chindia Alert: You’ll be Living in their World Very Soon
aims to alert you to the threats and opportunities that China and India present. China and India require serious attention; case of ‘hidden dragon and crouching tiger’.
Without this attention, governments, businesses and, indeed, individuals may find themselves at a great disadvantage sooner rather than later.
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Pupils given headwear modelled on a style worn by officials a thousand years ago to reinforce the message that they must stay a metre away from each other
One legend says the hats were given long extensions to stop courtiers whispering among themselves when meeting the emperor
Hats with long extensions were worn by officials during the Song dynasty. Photo: Handout
An ancient Chinese hat has joined face masks and hand sanitisers as one of the weapons in the fight against Covid-19.
A primary school in Hangzhou in the east of the country took inspiration from the headgear worn by officials in the Song dynasty, which ruled China between 960 and 1279, to reinforce lessons on social distancing.
Pupils at the school wore their own handmade versions of the hats, which have long extensions, or wings, to keep them at least a metre (3ft) apart when they returned to school on Monday, state news agency Xinhua reported.
One legend says that the first Song emperor ordered his ministers to wear hats with two long wings on the sides so that they could not chitchat in court assemblies without being overheard, according to Tsui Lik-hang, a historian at City University of Hong Kong.
Pupils at a school in Hangzhou made their own versions of the hats. Photo: Weibo
However, he warned that this story came from a much later source, adding: “The Song emperors, in fact, were also depicted to have worn this kind of headwear with wing-like flaps.”
The World Health Organisation recommends that people stay at least a metre apart to curb the spread of the coronavirus that causes Covid-19.
Coronavirus droplets may travel further than personal distancing guidelines, study finds
16 Apr 2020
“If you are too close, you can breathe in the droplets, including the Covid-19 virus if the person coughing has the disease,” the global health body advises.
An early childhood education specialist said the hats were a good way to explain the concept of social distancing to young children, who find it difficult to understand abstract concepts.
The pupil’s head gear is designed to drive home the social distancing message. Photo: Weibo
“As children can see and feel these hats, and when the ‘wings’ hit one another, they may be more able to understand the expectations and remember to keep their physical distance,” said Ian Lam Chun-bun, associate head of the department of early childhood
Using pictures of footprints to indicate the right distance to keep when queuing, standing, and even talking to schoolmates was also helpful, said Lam, who recommended visual aids and aids that stimulate other senses, such as hearing and touch.
“We can use sharp colours or special textures, like tactile paving,” he added.
Documentary puts China’s literary hero into context: there is Dante, there’s Shakespeare, and there’s Du Fu
Theatrical legend Sir Ian McKellen brings glamour to beloved verses in British documentary
A ceramic figurine of Du Fu, a prominent Chinese poet of the Tang dynasty. Du is the subject of a new BBC documentary, thrilling devotees of his poetry. Photo: Simon Song
The resonant words of an ancient Chinese poet spoken by esteemed British actor Sir Ian McKellen have reignited in China discussion about its literary history and inspired hope that Beijing can tap into cultural riches to help mend its image in the wake of the coronavirus pandemic.
The BBC documentary Du Fu: China’s Greatest Poet has provoked passion among Chinese literature lovers about the poetic master who lived 1,300 years ago.
Sir Ian Mckellen read works of ancient Chinese poet Du Fu in Du Fu: China’s Greatest Poet. Photo: BBC Four / MayaVision International
The one-hour documentary by television historian Michael Wood was broadcast on television and aired online for British viewers this month but enthusiasm among Chinese audiences mean the trailer and programme have been widely circulated on video sharing websites inside mainland China, with some enthusiasts dubbing Chinese subtitles.
The documentary has drawn such attention in Du’s homeland that even the Communist Party’s top anti-graft agency has discussed it in its current affairs commentary column. Notably, Wood’s depiction of Du’s life from AD712 to 770 barely mentioned corruption in the Tang dynasty (618-907) government.
“I couldn’t believe it!!” Wood said in an email. “I’m very pleased of course … most of all as a foreigner making a film about such a loved figure in another culture, you hope that the Chinese viewers will think it was worth doing.”
Often referred to as ancient China’s “Sage of Poetry” and the “Poet Historian”, Du Fu witnessed the Tang dynasty’s unparalleled height of prosperity and its fall into rebellion, famine and poverty.
Writer, historian and presenter Michael Wood followed the footsteps of the ancient Chinese poet Du Fu in Yangtze River gorges. Photo: BBC Four / MayaVision International
Wood traced Du’s footsteps to various parts of the country. He interviewed Chinese experts and Western sinologists, offering historical and personal contexts to introduce some of Du’s more than 1,400 poems and verses chronicling the ups and downs of his life and China.
The programme used many Western reference points to put Du and his works into context. The time Du lived in was described as around the as the Old English poem Beowulf was composed and the former Chinese capital, Changan, where Xian is now, was described as being in the league of world cities of the time, along with Constantinople and Baghdad.
Harvard University sinologist Stephen Owen described the poet’s standing as such: “There is Dante, there’s Shakespeare, and there’s Du Fu.”
The performance of Du’s works by Sir Ian, who enjoyed prominence in China with his role as Gandalf in the Lord of the Rings movie series, attracted popular discussion from both media critics and general audiences in China, and sparked fresh discussion about the poet.
“To a Chinese audience, the biggest surprise could be ‘Gandalf’ reading out the poems! … He recited [Du’s poems] with his deep, stage performance tones in a British accent. No wonder internet users praised it as ‘reciting Du Fu in the form of performing a Shakespeare play,” wrote Su Zhicheng, an editor with National Business Daily.
A stone sculpture at Du Fu Thatched Cottage in Chengdu city, China. Photo: Handout
On China’s popular Weibo microblog, a viewer called Indifferent Onlooker commented on Sir Ian’s recital of Du’s poem My Brave Adventures: “Despite the language barrier, he conveyed the feeling [of the poet]. It’s charming.”
Some viewers, however, disagreed. At popular video-sharing website Bilibili.com, where uploads of the documentary could be found, a viewer commented: “I could not appreciate the English translation, just as I could not grasp Shakespeare through his Chinese translated works in school textbooks.”
Watching the documentary amid the coronavirus pandemic, some internet users drew comparisons of Du to Fang Fang, a modern-day award-winning poet and novelist who chronicled her life in Wuhan during the Covid-19 lockdown.
Shanghai pictured in April. Devastation wrought by the coronavirus pandemic has brought about a new suspicion of China. Photo: Bloomberg
The pandemic has infected more than 2.5 million people and killed more than 170,000. It has put the global economy in jeopardy, fuelling calls for accountability. British Foreign Secretary Dominic Raab last week called for a “deep dive” review and the asking of “hard questions” about how the coronavirus emerged and how it was not stopped earlier.
Steve Tsang, director of the SOAS China Institute at University of London, said the British establishment and wider public had changed its perception of Beijing as questions arose about outbreak misinformation and the political leverage of personal protective gear supply.
“The aggressive propaganda of the Chinese government is getting people in the UK to look more closely at China and see that it is a Leninist party-state, rather than the modernising and rapidly changing society that they want to see in China,” Tsang said.
On Sunday, a writer on the website of the National Supervisory Commission, China’s top anti-corruption agency, claimed – without citing sources – that the Du Fu documentary had moved “anxious” British audience who were still staying home under social distancing measures.
“If anyone wants to put the fear of the coronavirus behind them by understanding the rich Chinese civilisation, please watch this documentary on Du Fu,” it wrote, adding that promoting Du’s poems overseas could help “healing and uniting our shattered world”.
English-language state media such as CGTN and the Global Times reported on the documentary last week and some Beijing-based foreign relations publications have posted comments about the film on Twitter.
Wood said he had received feedback from both Chinese and British viewers that talked about “the need, especially now, of mutual understanding between cultures”.
“It is a global pandemic … we need to understand each other better, to talk to each other, show empathy: and that will help foster cooperation. So even in a small way, any effort to explain ourselves to each other must be a help,” Wood said.
He said the idea for producing a documentary about Du Fu started in 2017, after his team had finished the Story of China series for BBC and PBS.
Du Fu: China’s Greatest Poet first aired in Britain on April 7 on BBC Four, the cultural and documentary channel of the public broadcaster. It is a co-production between the BBC and China Central Television.
Wood said a slightly shorter 50-minute version would be aired later this month on CCTV9, Chinese state television’s documentary channel.
The film was shot in China in September, he said.
“I came back from China [at the] end of September, so we weren’t affected by the Covid-19 outbreak, though of course it has affected us in the editing period. We have had to recut the CCTV version in lockdown here in London and recorded two small word changes on my iPhone!” Wood said.
Image copyright GETTY IMAGESImage caption This journey is documented in undated Hindu sacred texts known as the Puranas written a few thousand years ago
One of India’s biggest religious festivals, the Jagannath Puri Rath Yatra, gets under way on Thursday. The festival is unique in that three Hindu gods are taken out of their temples in a colourful procession to meet their devotees. The BBC’s Priyanka Pathak explains the legend behind the festival and its significance.
The biggest of these processions takes place in Puri in the eastern state of Orissa, while the other takes place in the western state of Gujarat.
Believed to be the oldest Rath Yatra or chariot procession in the world, this festival marks the annual ceremonial procession of Lord Jagannath, his elder brother Balabhadra and younger sister Subhadra, from their home temple to another temple, located in what is believed to be their aunt’s home.
This journey is documented in undated Hindu sacred texts known as the Puranas which are believed to have been written a few thousand years ago.
What makes it so interesting?
This is the only festival in the world where deities are taken out of temples to travel to devotees, and it is also the largest chariot procession in the world.
Millions of people come to watch as a “king” sweeps the road with a golden mop and three massive 18-wheeled chariots bearing the sibling deities make their way through massive crowds. Their chariots, which are mini architectural marvels, are constructed over 42 days from over 4,000 pieces of wood by the only family that has the hereditary rights to make them.
Image copyright AFP
Legend says it always rains on the day of the procession. For a whole week before, the temple doors are shut and no one is allowed inside, because it is believed that the sibling deities have a fever after bathing in the sun with 108 pitchers of water. The breaking of their fever calls for a change of scene, which is why they go to their aunt’s home for a few days.
The size, pomp and splendour of this procession has even contributed a word to the English dictionary: Juggernaut.
What is the legend of the sibling deities?
Unlike the ornate, carefully crafted metal idols everywhere else, these three deities are fashioned from wood, cloth and resin. They are malformed with large heads and no arms: reminders of the legend of an impatient King.
The legend begins in different ways.
One speaks of an arrogant Indrayumna, King of Puri in the east, who tried to steal the Hindu god Krishna’s heart. It had been immersed in the legendary Dwarka sea after his cremation and had reappeared to the tribes people of the place as an idol. When Indrayumna tried to claim its possession, the idol disappeared. The repentant king sought absolution from Krishna by sanctifying him in another form.
Image copyright GETTY IMAGESImage caption Unlike the ornate, carefully crafted metal idols everywhere else, these three deities are fashioned from wood, cloth and resin
Another speaks of how Krishna’s grief-stuck siblings – his elder brother Balabhadra and younger sister Subhadra- rushed into the Dwarka sea carrying his half-cremated body. At the same moment, King Indrayumna dreamed that Krishna’s body had floated back up on his shores as a log.
The two legends merge here: Indrayumna decided to build a temple to house the log. His next task was to find someone to craft the idols from it. Legends say that Vishwakarma, God’s own architect, arrived as an old carpenter. He agreed to carve the idols, but on the condition that he was not to be disturbed. However, when he did not emerge from his workshop for weeks, going without food, water or rest, a worried and impatient King threw the door open.
At the time the images were only half-finished, but the carpenter disappeared. Still, believing the idols to be made from the very body of God, the King sanctified them and and placed them in the temple.
When the deities disintegrate, they are remade in the same half-done image with new wood every 12 years. They were last remade in 2015.
Why are there two rath yatras and how are they connected?
Dwarka in Gujarat – where Krishna’s half-cremated body is believed to have been immersed into the ocean – is located on the west coast of India and Puri in Orissa- where it is said to have re-emerged as a log – is located in the east.
About 500 hundred years ago, a travelling Hindu saint and temple priest of a Hanuman temple in Gujarat, Shree Sarangdasji, arrived in Puri to offer prayers at the historic Jagannathan temple.
Image copyright GETTY IMAGES
While sleeping at the temple guest house, it is believed that he received visionary instruction from Lord Jagannathan to go back to Ahmedabad in Gujarat and install three idols of Jagannathan, Balbhadra and Subhadra there. Carrying out the instructions received in his dream, he founded the Ahmedabad Jagannathan Temple.
By doing so, he sanctified the two locations – one where Krishna’s mortal remains began their journey from the west, to their transformation as Puri’s Lord Jagannathan in the east.
About 142 years ago, one of the founder’s disciples, Shree Narsinhdasji Maharaj, began the Ahmedabad Rath Yatra. The deities on chariots, pulled by elephants and humans, replicate their own journey in Puri, completing a set of rituals that sanctify the two places where Krishna’s mortal remains are believed to have come to rest.
What happens to the chariots and elephants after the journey?
At the end of the festival, the chariots are dismantled and their wood is used as fuel in the temple kitchens – believed to be the largest in the world that cook 56 things every day and feed anywhere between 2,000 to nearly 200,000 people.
The elephants are returned to the lands managed by the temple trusts to roam free – until the procession the following year.
This year’s festival was, however, marred by controversy over the elephants.
Following the death of some of the temple elephants in Gujarat, there was massive outcry over plans to replace them with elephants from the north-eastern state of Assam.
The four elephants would have had to make a perilous train journey of more than 3,100km (1,926 miles) in heatwave conditions to participate in the festival.
CHINDIA ALERT: You'll be living in their world, very soon 