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    2.Officially Sanctioned Crime in China, He Qinglian
    Will the Boat Sink the Water? Chen Guidi, Wu Chuntao
    Losing the New China, Ethan Gutmann
    Nine Commentaries on The Communist Party, the Epochtimes
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    Reporters Without Borders said in it’s 2005 special report titled “Xinhua: the world’s biggest propaganda agency”, that “Xinhua remains the voice of the sole party”, “particularly during the SARS epidemic, Xinhua has for last few months been putting out news reports embarrassing to the government, but they are designed to fool the international community, since they are not published in Chinese.”
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Archive for the ‘civilization’ Category

China is a multi-ethnic state with little multiculturalism

Posted by Author on September 9, 2008

Craig Kielburger and Marc Kielburger, Special to the Vancouver Sun, Canada, Monday, September 08, 2008-

Clad in brightly-coloured costumes, 56 children paraded through the Bird’s Nest at last month’s Olympic Opening ceremonies.

Each child represented one of China’s 56 ethnic groups. All smiles, they carried the Chinese flag to a group of soldiers who hoisted it up the mast.

The symbolism was evident to anyone watching — the state protecting the culture of each child.

When the ceremonies were over, the hoax was revealed. The children were part of an acting troupe and all were Han Chinese, the group makes up about 92 per cent of the population.

Yes, the children represented a scandal that caught headlines. But the symbolism may be the bigger deception.

About 112 million people make up China’s minorities, a population more than three times the size of Canada’s. These minorities are largely neglected by the state. The 56 ethnic groups are strictly defined by the state. Others simply don’t exist.

“The official categories aren’t really the way people live their lives,” says Edward Friedman, a professor of Chinese politics at the University of Wisconsin. “The Chinese state has an official set of categories and you shouldn’t take them seriously.”

China says it’s a “united socialist multiethnic state.” In reality, it is one of many countries with a wealth of diversity but virtually no embrace of multiculturalism.

Multiculturalism promotes the celebration of ethnicity, helping to enrich cultures and break down social barriers. When it is not embraced, the risk is losing the diversity altogether.

China’s economic boom has created centres of wealth around the country. The areas populated by minorities like the Tibetans and the Uighurs still experience extreme poverty.

The promise of wealth has led some minorities to the cities where often their cultural ties are lost. The Chinese state has also taken to moving Han Chinese to areas that were once populated by the minority.

Dermod Travis, the executive director of the Canada Tibet Committee, says this practice is diluting the culture.

“In Lhasa, there used to a very large public square where the Tibetans would sell their wares — jewelry, artworks and things like that,” he says. “Today if you go to that market, it’s virtually all Han Chinese.”

Travis says the Chinese government is fearful their state could dissolve if regions like Tibet seek sovereignty. Their solution is to enforce the “One China” policy to stop the minority groups from developing politically.

So, the Hakka, a culture with between 30 and 45 million people worldwide, are not included in the 56 categories.

Tibetan children face corporal punishment and abuse by authorities for wearing traditional dress and singing Tibetan songs.

More recently, the Muslim Uighur population has clashed with authorities. Resentment has grown towards the government, which discourages the practice of Islam.

At job fairs in the mineral-rich region, signs often read, “Uighurs need not apply.”

With so many cultures, China has potential to truly flourish culturally. To some extent, they are as Cantonese operas play in city centres while Szechwan art is sold in markets. Instead, a categorized system of 56 defined groups only limits the opportunities to learn and grow.

“The 56 categories get in the way of full cultural prosperity,” says Friedman.

“They are flourishing in little ways but obviously, to have freedom would help them more.”

Craig and Marc Kielburger co-founded Free the Children. The primary goal of the organization is to free children from poverty and exploitation through education.

– Original: Vancouver Sun

Posted in China, civilization, Culture, ethnic, Heritage, Life, News, People, Social, tradition, World | Comments Off on China is a multi-ethnic state with little multiculturalism

Best of New York: Chinese New Year Splendor to Start From Wed. Jan 30 (video)

Posted by Author on January 29, 2008


If you would like to experience the magic and splendor of the crown jewel of ancient Chinese civilization, look no further.

Every year, New Tang Dynasty (NTD) Television, a rising star in global Chinese language media, brings the best of Chinese culture in all its glory to your doorstep right here in the New York City with their unparalleled winter shows: Holiday Wonders at Beacon Theatre and Chinese New Year Splendor at Radio City Music Hall.

Video: Brief of the show and Feedback for the Holiday Wonders

Chinese culture is considered one of the greatest and certainly one of the oldest existing cultures that has left the world a lasting intellectual, social, and artistic legacy. Unfortunately, the social upheaval and political crises of the last 100 years in Mainland China have left this once rich and refined civilization a mere shadow of its former self. Decades of Communist rule have not only destroyed so much of the architecture, art, and social mores but have undermined the very essence of China’s culture – its emphasis on virtue and spirituality.

True Chinese culture was based on a divine connection between heaven and earth and harmony between nature and man. To be truly Chinese was to be honest, loyal, gracious, faithful, and civilized.

The golden age of China, the Tang Dynasty (618 to 906 AD), truly embodied the best of Chinese culture with its reverence for the divine, respect for learning, and its openness. This spirit of pluralism and multiculturalism brought about many brilliant achievements, including the invention of block printing, the perfection of the civil service examination system and the flourishing of Buddhism after it had been brought in from India. The Tang Dynasty was truly sophisticated, cosmopolitan, and prosperous, not unlike the New York City of today.

The artists and performers of NTD have spared no effort in creating truly magical productions that aim to transport the viewer not only to that glorious time and place of the Tang Dynasty but to travel to even more magical realms where dragons dance, heavenly maidens frolic, and giant drums roar. With meticulous attention to every detail, from the costumes and intricate hairstyles to the stunning backdrops, NTD has sought to not only recreate the past glory of the Tang and other dynasties in their genuine and authentic form but also to truly bring the profound essence and ingenerate beauty of the Chinese culture to life through the magic and wonder of the stage.

All the hard work has been worthwhile; audience response to the Chinese New Year Splendor has been most gratifying. WNYC said: “SUPERB!!! Every performance was stunning. Amazing, amazing, amazing!” said: “A tantalizing and fascinating evening that made me want to stay and see more. In a word, I was simply captivated!”

Stanley, a young boy in Chinatown, became interested in lion dance at age three because his father was a lion dancer in NTD’s Chinese New Year Shows. Following his father learning and practicing the traditional performance, Stanley enriched himself in the heritage, showed his talent and made into the upcoming Chinese New Year Splendor at Radio City playing a lovely role in a legend.

NTD kicked off the inaugural Chinese New Year Global Gala, later renamed the Chinese New Year Spectacular, at the Hammerstein Ballroom at the Manhattan Center in 2004. NTD’s affiliates in four cities in the U.S. and other countries joined the Global Gala in their cities. The show drew upon traditional tales and featured dances ranging from an exhilarating Mongolian folk dance where the dancers balanced real ceramic bowls on their heads to ethereal dances depicting heavenly beings and divine realms. The scale, spirit and presentation of the shows took both the Western and Chinese communities by surprise. There was no longer any question in anyone’s mind — this upstart television network was not only here to stay but was destined for big things.

It certainly was. By the second year, the Gala had sold out Madison Square Garden and was joined by Galas in six cities and countries. Heartened by the unqualified success at the Garden, complete with a standing ovation at the end of the show, NTD decided to expand to the legendary Radio City Music Hall. As Cable World says, “There’s nothing like doing a show at Radio City Music Hall, one of the best places to stage anything.” To stage not only one but three shows City with a cast of hundreds of singers, dancers, and musicians at Radio City with a total of more than 15,000 seats to fill was truly not a task for the feint of heart. But NTD remained true to its vision and put on a tremendous show making full use of Radio City’s massive new LED screen to create an utterly unique and stunning visual experience.

One woman in the audience attended two nights in a row because she was so enchanted by the whole experience of music, song, and dance: “Oh! I wish I were a writer to describe my delight. I felt like a child unwrapping a shiny present, discovering a colorful picture book that I had been needing all along without knowing it. What magical evenings!”

By 2006, NTD’s show had not only played at Radio City but had grown to 16 cities around the world, making it the largest Chinese community event in the world. NTDTV’s Chinese New Year Splendor had truly arrived.

The 2007 season can only be even better and grander. The choreographers, composers, and costume and stage designers continue to search for inspiration in the vast and profound world of ancient Chinese culture. The dancers and performers are also striving to perfect their technique and their artistry. The 2007 shows promise to be an entirely original, authentic and even more beautiful expression of true Chinese culture.

NTDTV is an independent, not-for-profit, television network founded by Chinese Americans, many of whom emigrated from China and entered professional careers here in the US. Established in 2002 and headquartered in New York City, NTD’s 24/7 comprehensive news, cultural and entertainment programming covers North America, Asia, Europe, and Australia via satellite, and reaches an estimated 200 million people. NTD is also available on channel 32 in lower Manhattan and 15 other metropolitan areas in North America.

In keeping with the spirit of the pluralism, multiculturalism, and innovation of the Tang Dynasty, we at NTD take great pride in showcasing genuine Chinese traditional values and culture to both the West and to the Chinese community. We find it enormously rewarding to help different generations of ethnic Chinese rediscover their cultural heritage and show them there is a lot to be proud of even though so much has been lost in modern times. We believe all our lives can be enriched by programs and events that remind us of our shared values and our common humanity. As Donn Murphy, PhD, President and Executive Director of the National Theatre in Washington, DC says of the NTDTV Chinese New Year Splendor: “This is not only entertainment, but a valuable cross-over cultural event: a strong, gracious gesture toward international understanding, in an all-too-troubled world.”

We invite you come to join us for the Holiday Wonders show at Beacon Theatre ( from Dec. 18 to 26, 2007) and the Chinese New Year Splendor at Radio City Music Hall ( from Jan. 30 to Feb. 9, 2008) Through these shows you will see imperial pageantry, folk customs, spiritual faith, and legends brought to life through art.

Come experience the beauty, elegance, and grandeur of the golden age of Chinese civilization and be a part of the wonder and prosperity of a New Tang Dynasty.

– From

Posted in all Hot Topic, Artists, Chinese Culture, civilization, Culture, Dance, Entertainment, Heritage, history, Life, Music, News, Overseas Chinese, People, shows, Spiritual, the Chinese Spectacular, tradition, USA, Video, World | Comments Off on Best of New York: Chinese New Year Splendor to Start From Wed. Jan 30 (video)

China’s Great Cultural Revival (video)

Posted by Author on January 10, 2008

By John Augustyn, Special to the Epoch Times, Jan 05, 2008-

Thanks to years of marketing, soaring budgets, and an international media spotlight, the year 2008 has become synonymous with China and, more specifically, the Beijing Olympics. The upcoming games have piqued interest in rising power, yet some believe that the truest voice of China’s past—and future—is best seen outside its borders.

That’s the belief of the Divine Performing Arts company, a New York-based group of classical dancers and musicians who hope to breath new life into China’s ancient cultural, artistic, and moral traditions—traditions which were all but completely destroyed under Communist rule.

The company, which began to coalesce only five years ago, now consists of hundreds of artists, including the top-ranked Chinese classical dancers in the world and virtuoso musicians.

It got its start in 2004 at New Tang Dynasty Television’s Chinese New Year Spectacular, and from modest beginnings, it has grown meteorically. This year, the company will tour to over 60 cities around the world, performing in front of over 600,000 people.

Video: Introduction of Divine Performing Arts Chinese Spectacular

Accompanied by an orchestra that combines Eastern and Western musical styles, the Divine Performing Arts performs dances ranging from ethnic Mongolian and Tibetan dances, dances of the royal courts, narrative dances depicting ancient Chinese legends, as well as some performances that use art to tackle contemporary issues in Mainland China, such as human rights.

Culture, Not Communism

If one wants to know what makes these performances so unique, the people who make up the company are the place to start.

What sets these artists apart—be they dancers, designers, choreographers—is the profound affinity they share for China’s traditional culture. These are people who have gone to great lengths to not just study, but also immerse themselves in China’s ancient traditions. Many of the artists make an active practice of things like meditation, or practicing “mindful speech” and rightfulness—traits cultivated by China’s sages of the past. These are far more than just world-class artists.

In China under communist rule, traditional culture has been assaulted and denounced for decades. The decade spanning 1966–76 witnessed Mao Zedong’s “Cultural Revolution” unleash Red Guard soldiers on every possible vestige of China’s traditional past—from Confucius’ temple to Buddha statues, calligraphers, and libraries. The motto of the day was “Smash the old world!”

China’s rich cultural traditions were seen as an obstacle to the ruling Communist Party’s legitimacy: whereas traditional culture esteemed traits like kindness, harmony, and piety, Marxism-Leninism celebrated violence, atheism, “class struggle.”

Thus it was the arts, and their performers, had their roots severed to such a severe extent.

But if this weren’t enough, insult has been added to injury under communist rule: traditional culture was recycled, with macabre twists. Traditional operas, plays, and stories were recreated to serve Mao Zedong’s political ends; what remnants of Chinese culture survived were masticated and re-engineered by the Party. Even today on Chinese state-run television you might see the bizarre spectacle of soldiers dancing—in full military regalia—a hybrid dance part Qing Dynasty ballet, part Maoist propaganda.

That is why the Divine Performing Arts shows like are more than just a breath of fresh air; it’s a fresh start for China. In the Divine Performing Arts’ shows, gone are the red flags of Chinese communism. Gone are the pirouetting People’s Liberation Army soldiers. Gone are all those lyrics crafted to stir patriotism.

Instead, Divine Performing Arts seeks to serve up China’s best traditional arts in all their glory, vigor, and spiritual robustness.

You could say, too, that the show’s artists and creators know what it is not as well. Many of them, such as the company’s orchestra conductor Mr. Rutang Chen, went through the pain and humiliation of the Cultural Revolution.

He and his wife were separated and sent to the countryside to be “reformed” through hard labor—all for the crime of being artists who played the Cello and Flute. When they were allowed to play their instruments again in China’s leading Central Symphony Orchestra of China, all music had to be scrapped in favor of patriotic songs. (Other orchestras were disbanded altogether.)

Decades later, in 2000, Chen’s son was nearly beaten to death by police for having traditional Chinese spiritual beliefs in Falun Gong. His wife, too was arrested by communist authorities in 2000 for adhering to Falun Gong. For the Chens and others, the Divine Performing Arts shows are a new beginning, one “outside of communist culture” they say.

“It distills what our ancestors believed,” Samuel Zhou, one of New Tang Dynasty TV’s directors says, “that goodness is rewarded, that life is sacred, and that ultimately, justice prevails.”

It’s a message that seems to be getting through—the Divine Performing Arts have struck a powerful chord with audiences everywhere.

Even inside mainland China, where the Divine Performing Arts remains barred, numerous anecdotal accounts reveal that market vendors can’t sell copies of Divine Performing Arts performances quickly enough. And that’s big news, for the Divine Performing Arts represents not just a revival of interest in Chinese classical arts, but also the acceptance of a message about justice, humanity, and freedom from repression.

Original report from the Epochtimes

Posted in all Hot Topic, Artists, Asia, China, Chinese Culture, civilization, Culture, Dance, Life, News, Overseas Chinese, People, Politics, Social, Spiritual, the Chinese Spectacular, tradition, Video, World | 1 Comment »

Video: Part 6, Nine Commentaries on the Communist Party

Posted by Author on September 12, 2007

This is the 6th of Nine Commentaries on the Communist Party, by The Epoch Times, Dec 09, 2004, Video by NTDTV

On How the Chinese Communist Party Destroyed Traditional Culture


Culture is the soul of a nation. This spiritual factor is as important to mankind as physical factors such as race and land.

Cultural developments define the history of a nation’s civilization. The complete destruction of a national culture leads to the end of the nation. Ancient nations who had created glorious civilizations were considered to have vanished when their cultures disappeared, even though people of their races may have survived.

China is the only country in the world whose ancient civilization has been passed down continuously for over 5,000 years. Destruction of its traditional culture is an unforgivable crime.

The Chinese culture, believed to be passed down by God, started with such myths as Pangu’s creation of heaven and the earth [1], Nüwa’s creation of humanity [2], Shennong’s identification of hundreds of medicinal herbs [3], and Cangjie’s invention of Chinese characters [4].

“Man follows the earth, the earth follows heaven, heaven follows the Tao, and the Tao follows what is natural.” [5] The Taoist wisdom of unity of heaven and humanity has coursed through the veins of Chinese culture.

“Great learning promotes the cultivation of virtue.”[6] Confucius opened a school to teach students more than 2,000 years ago and imparted to society the Confucian ideals represented by the five cardinal virtues of benevolence, righteousness, propriety, wisdom, and faithfulness.

In the first century, Shakyamuni’s Buddhism traveled east to China with its emphasis on compassion and salvation for all beings. The Chinese culture became more wide-ranging and profound.

Thereafter, Confucianism, Buddhism, and Taoism became complementary beliefs in Chinese society, bringing the Tang Dynasty (618-907 A.D.) to the peak of its glory and prosperity, as is known to all under heaven.

Although the Chinese nation has experienced invasion and attack many times in history, the Chinese culture has shown great endurance and stamina, and its essence has been continuously passed down.

The unity of heaven and humanity represents our ancestors’ cosmology. It is common sense that kindness will be rewarded and evil will be punished. It is an elementary virtue not to do to others what one does not want done to oneself. Loyalty, filial piety, dignity, and justice have set the social standards, and Confucius’ five cardinal virtues of benevolence, righteousness, propriety, wisdom, and faithfulness have laid the foundation for social and personal morality.

With these principles, the Chinese culture embodied honesty, kindness, harmony, and tolerance. Common Chinese people’s death memorials show reverence to “heaven, earth, monarch, parents and teacher.” This is a cultural expression of the deep-rooted Chinese traditions, which include worship of god (heaven and earth), loyalty to the country (monarch), values of family (parents), and respect for teachers.

The traditional Chinese culture sought harmony between man and the universe, and emphasized an individual’s ethics and morality. It was based on the faiths of the cultivation practices of Confucianism, Buddhism, and Taoism, and provided the Chinese people with tolerance, social progress, a safeguard for human morality, and righteous belief.

Unlike law, which prescribes hard rules, culture works as a soft constraint. The law enforces punishment after a crime has been committed, while culture, by nurturing morality, prevents crimes from happening in the first place. A society’s morality is often embodied in its culture.

In Chinese history, traditional culture reached its peak during the prosperous Tang Dynasty, coinciding with the height of the Chinese nation’s power. Science was also advanced and enjoyed a unique reputation among all nations. Scholars from Europe, the Middle East, and Japan came to study in Chang’an, the capital of the Tang Dynasty. Countries bordering China took China as their suzerain state. “Tens of thousands of countries came to pay tribute to China, even though they might have to be translated multiple times and clear successive customs.” [7]

After the Qin Dynasty (221-207 BC), China was often occupied by minority groups. This happened during the Sui (581-618AD), Tang (618-907AD), Yuan (1271-1361AD) and Qing (1644-1911AD) dynasties and in some other times when ethnic minorities established their own regimes. Nevertheless, almost all these ethnic groups were assimilated to the Chinese ways. This shows the great integrative power of traditional Chinese culture. As Confucius said, “(Thus) if the people from afar are not compliant, bring them around by cultivating (our) culture and virtue.” [8]

Since attaining power in 1949, the CCP has devoted the nation’s resources to destroying China’s traditional culture. This ill intention did not come from the CCP’s zeal for industrialization, nor from simple foolishness in worshipping Western civilization. Rather, it came from the CCP’s inherent ideological opposition to traditional Chinese culture. Thus, the CCP’s destruction of Chinese culture has been planned, well organized, and systematic, supported by the state’s use of violence. Since its establishment, the CCP has never stopped “revolutionizing” Chinese culture in the attempt to destroy its spirit completely.

Even more despicable than the CCP’s destruction of traditional culture is its intentional misuse and underhanded modification of traditional culture. The CCP has highlighted the vile parts from China’s history, things that occurred whenever people diverged from traditional values, such as internal strife for power within the royal family, the use of tactics and conspiracy, and the exercise of dictatorship and despotism.

It has used these historical examples to help create the CCP’s own set of moral standards, ways of thinking, and system of discourse. In doing so, the CCP has given the false impression that the “Party culture” is actually a continuation of traditional Chinese culture. The CCP has even taken advantage of the aversion some people have for the “Party culture” to incite further abandonment of the authentic Chinese tradition.

The CCP’s destruction of traditional culture has brought disastrous consequences to China. Not only have people lost their moral bearings, they have also been forcibly indoctrinated with the CCP’s evil theories.

******************I. Why Did the CCP Want to Sabotage Traditional Culture?

The Long Tradition of Chinese Culture—Based on Faith and Venerating Virtue

The authentic culture of the Chinese nation started about 5,000 years ago with the legendary Emperor Huang, who is deemed to be the earliest ancestor of the Chinese civilization. In fact, Emperor Huang was also credited with founding Taoism—which was also called the Huang-Lao (Lao Zi) school of thought. The profound influence of Taoism on Confucianism can be seen in such Confucian sayings as “Aspire to the Tao, align with virtue, abide by benevolence, and immerse yourself in the arts” and “If one hears the Tao in the morning, one can die without regret in the evening.” [9] The Book of Changes (I Ching), a record of heaven and earth, yin and yang, cosmic changes, social rise and decline, and the laws of human life, was regarded as “Number one among all Chinese classics” by Confucians. The prophetic power of the book has far surpassed what modern science can conceive. In addition to Taoism and Confucianism, Buddhism, especially Zen Buddhism, has had a subtle yet profound influence on Chinese intellectuals.

Confucianism is the part of the traditional Chinese culture that focused on “entering the mundane world.” It emphasized family-based ethics, in which filial piety played an extremely important role, teaching that “all kindness starts with filial piety.” Confucius advocated “benevolence, righteousness, propriety, wisdom and faithfulness,” but also said, “Aren’t filial piety and brotherly love the roots of benevolence?”

Family-based ethics can be naturally extended to guide social morality. Filial piety can be extended to subordinates’ loyalty to the monarch. It is said that, “It is seldom that a person with filial piety and brotherly love will be inclined to offend those above.”[10] Brotherly love is the relationship among brothers, and can be further extended to righteousness and justice among friends. Confucians teach that in a family, a father should be kind, a son filial, an older brother friendly, and a younger brother respectful. Here, fatherly kindness can be further extended to benevolence of the monarch toward his subordinates. As long as the traditions of a family can be maintained, social morality can naturally be sustained. “Cultivate oneself, regulate one’s family, rightly govern one’s state and make the whole kingdom tranquil and happy.” [11]

Buddhism and Taoism are the parts of Chinese culture that focused on “leaving the mundane world.” The influence of Buddhism and Taoism can be found to penetrate all aspects of ordinary people’s lives. Practices that are deeply rooted in Taoism include Chinese medicine, qigong, geomancy (Feng Shui), and divination. These practices, as well as the Buddhist conceptions of a heavenly kingdom and hell, the karmic reward of good and the retribution of evil, have, together with Confucian ethics, formed the core of traditional Chinese culture.

The beliefs of Confucianism, Buddhism, and Taoism offered the Chinese people a very stable moral system, unchangeable “so long as heaven remains.” [12] This ethical system offered the basis for sustainability, peace, and harmony in society.

Morality belongs to the spiritual realm; thus, it is often conceptual. Culture expresses such an abstract moral system in language that can be commonly understood.

Take the “Four Chinese Classics,” the four most renowned novels in Chinese culture, as examples. The Journey to the West [13] is a mythical tale. A Dream of Red Mansions [14] starts with a dialog between a spirited stone and the Deity of Infinite Space and the Tao of Boundless Time at the Baseless Cliff of the Great Waste Mountain—this dialog provides clues for the human drama that unfolds in the novel. Outlaws of the Marsh [15] opens with a tale of how premier Hong, in charge of military affairs, accidentally set free 108 demons. This legend explains the origin of the “108 outlaw militants of prowess.” Three Kingdoms [16] begins with a heavenly warning of a disaster, and ends with the inescapable conclusion of God’s will: “The world’s affairs rush on like an endless stream; a heaven-told fate, infinite in reach, dooms all.” Other well-known stories, such as The Romance of the Eastern Zhou [17] and The Complete Story of Yue Fei [18], all begin with similar legends.

These novelists’ use of myths was not a coincidence, but a reflection of a basic philosophy of Chinese intellectuals toward nature and humanity. These novels have had a profound influence on the Chinese mind. When speaking of “righteousness,” people think of Guan Yu (160-219 AD) of the Three Kingdoms rather than the concept itself—how his righteousness to his friends transcended the clouds and reached heaven; how his unmovable loyalty to his superior and sworn-brother Liu Bei gained him respect even from his enemies; how his bravery in battle prevailed in the most dire of situations, his final defeat in a battle near the Town of Mai; and, finally, his conference as a deity with his son. When speaking of “loyalty,” Chinese people naturally think of Yue Fei (1103-1141 AD), a Song Dynasty general who served his country with unreserved integrity and loyalty, and Zhuge Liang (181-234 AD), prime minister of the Shu State during the Three Kingdoms period, who “gave his all until his heart stopped beating.”

Traditional Chinese culture’s eulogy of loyalty and righteousness has been fully elaborated in these authors’ colorful stories. The abstract moral principles they espouse have been made specific and embodied in cultural expressions.

Taoism emphasizes truthfulness. Buddhism emphasizes compassion, and Confucianism values loyalty, tolerance, benevolence and righteousness. “While their forms differ, their purposes are the same…they all inspire people to return to kindness.” [19] These are the most valuable aspects of traditional Chinese culture based upon the beliefs in Confucianism, Buddhism and Taoism.

Traditional Chinese culture is filled with concepts and principles such as heaven, the Tao, God, Buddha, fate, predestination, benevolence, righteousness, propriety, wisdom, faithfulness, honesty, shame, loyalty, filial piety, dignity, and so on. Many Chinese may be illiterate, but they are still familiar with traditional plays and operas. These cultural forms have been important ways for ordinary people to learn traditional morals. Therefore, the CCP’s destruction of traditional Chinese culture is a direct attack against Chinese morality and undermines the basis for peace and harmony in society.

The Evil Communist Theory Opposes Traditional Culture

The “philosophy” of the Communist Party completely contradicts the authentic traditional Chinese culture. Traditional culture respects the mandate of heaven, as Confucius once said, “Life and death are predestined, and wealth and rank are determined by heaven.” [20] Both Buddhism and Taoism are forms of theism, and believe in the reincarnation cycle of life and death, and the karmic causality of good and evil. The Communist Party, on the contrary, not only believes in atheism, but also runs wild in defying the Tao and assaulting heavenly principles. Confucianism values family, but the Communist Manifesto clearly promulgates abolition of the family. Traditional culture differentiates the Chinese from the foreign, but the Communist Manifesto advocates the end of nationality. Confucian culture promotes kindness to others, but the Communist Party encourages class struggle. Confucians encourage loyalty to the monarch and love for the nation. The Communist Manifesto promotes the elimination of nations.

To gain and maintain power in China, the Communist Party first had to plant its immoral thoughts on Chinese soil. Mao Zedong claimed, “If we want to overthrow an authority, we must first make propaganda, and do work in the area of ideology.”[21] The CCP realized that the violent communist theory, which is sustained with arms, is the refuse of Western thoughts and could not stand up to China’s profound 5,000-year cultural history. “In for a penny, in for a pound.” The CCP then completely destroyed traditional Chinese culture, so that Marxism and Leninism could take China’s political stage.

Traditional Culture Is an Obstacle to the CCP’s Dictatorship

( …… more details from  the Nine Commentaries)

<< Video: Part 5, Nine Commentaries on the Communist Party, On the Collusion of Jiang Zemin and the Chinese Communist Party to Persecute Falun Gong

Video: Nine Commentaries on the Communist Party
Official website of Nine Commentaries on the Communist Party

Posted in Buddhism, China, Chinese Culture, civilization, Commentary, Communist Party, Confucius, Culture, Family, history, Life, News, Nine Commentaries, People, Philosopher, Philosophy, Politics, Religion, Report, Social, Spiritual, tradition, Video, World | Comments Off on Video: Part 6, Nine Commentaries on the Communist Party

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