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Ouyang Xun (557–641 CE) was one of the most influential calligraphers of the early Tang Dynasty, renowned for his precise, disciplined, and structurally rigorous style of regular script (kaishu). His masterpiece, the Jiucheng Palace Liqueur Spring Inscription (Jiucheng Gong Li Quan Ming), was engraved in 632 CE to commemorate the discovery of a sweet…
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In Journey to the West, gods and demons wield immense supernatural powers, while mortals are typically portrayed as frail and vulnerable. Yet, there are rare exceptions—figures like Liu Boqin, Wei Zheng, and Yuan Shoucheng.
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In Western Halloween traditions, pumpkins are carved into lanterns to ward off wandering spirits, symbolizing a fear or aversion to ghosts. Yet in Journey to the West, Chinese ghosts and underworld kings are depicted as fond of pumpkins—a curious contrast.
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In Journey to the West, Sun Wukong encounters a woodcutter who guides him to seek a master and learn immortality. This woodcutter’s role mirrors an ancient Chinese legend, weaving Taoist themes of timelessness and illusion into the narrative.
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In Journey to the West, Wei Zheng embodies a dual identity. He is neither fully mortal nor purely divine but a liminal figure ensuring cosmic order—a reminder that even human affairs are threads in the tapestry of heavenly design.
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En Viaje al Oeste, innumerables dioses y demonios poseen grandes habilidades, mientras que los mortales son extremadamente débiles.
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¿Por qué los fantasmas chinos, en Viaje al Oeste, gustan de comer calabazas?