#Journey to China

[mooshie-blue]

SO I DID SOME LOOKING AND I KNOW SOME MORE ABOUT THE OCTONAUTS JOURNEY TO CHINA CHARACTERS

I looked through promotional posts and used google translate asked a freind on red note to confirm if the names were right and they said yes, and they told me about each of them HEHEHEHEHE

Left to right: Xiao Xiao, Zhufeng, Aiyuguli, Xiao Wu, Ao Deng

These are copy pasted directly from Lotus on Rednote

Ayiguli enjoys making friends and is good at encouraging others. She has a lot of positive energy and also enjoys dancing. I think her color is very unique

Xiao Wu is very brave and reliable. He is a wilderness lifeguard who knows kung fu and is also very kind and enthusiastic

Ao Deng doesn't appear much in the plot, but he is a character designed with inspiration from Mongolian culture and has a tenacious and brave personality

Zhufeng, like Tweak, is an engineer skilled in inventing and manufacturing. He is very confident and brave, and his most unique feature, in my opinion, is the panda's dark circles under his eyes!

Xiao Xiao is Min's younger sister, and her catchphrase is' Leave it to me '. She doesn't like to be called young or short, and is a cute little sister who is brave enough to take on responsibilities

I was able to watch some episodes on Douyin (Chinese version of tiktok). (Its not available It’s a little hard to figure out since all the buttons are small but in order to search Octonauts: Journey to China, you’ll have to use: 海底小���队 【中国之旅

Mariana Trench productions of YouTube has a playlist of the episodes, but they’re blocked (copyrighted) so unless you can find away around that, you won’t have much luck :(

[bloomzone]

Do you ever feel like SHIT? Like life is moving so fast, and you’re stuck, tired, or completely drained? cuz same 🙋🏻‍♀️. That’s why I started looking into Japanese and Chinese habits—because I'm searching for slow down type of lifestyle, finding balance, and creating small moments of peace in the dawm chaos. Now, I know some of y’all will say, 'It’s overrated, you’re just obsessed with China or Japan,' but hear me out these habits aren’t about trends—they’re rooted in centuries and they’ve genuinely helped me improve both physically and mentally. If you’re ready to stop just surviving and start thriving, keep reading. These little changes might just change your life too.

Little Habits, Big Glow: Japanese & Chinese Traditions That Changed My Life

First off, warm water in the MORNING. I used to roll out of bed and go straight for coffee or cold ass water cuz my throat is DRYYYY , and honestly, my body hated me for it fr. But then I read about how in Chinese medicine, drinking warm water first thing in the morning is seen as a way to wake up your body gently. And let me tell you, IT WORK. No bloating, no sluggishness—just a simple, calming way to start the day. Sometimes I add a slice of lemon, and it feels like I’m doing something kind for my body before I even check my phone

Two Ikigai.( I talked Abt Ikigai and how to achieve this concept click here!) Japanese concept changed the way I see my day-to-day life. It’s basically finding purpose in the little things—like, not waiting for some huge life-changing moment to feel fulfilled. I used to put so much pressure on myself, thinking I needed to achieve these massive goals to be happy. But Ikigai taught me to slow down and find joy in small things, like enjoying my morning tea or journaling. It’s a game-changer for anyone who feels like they’re always chasing something bigger.

Another thing I’ve started doing is Tai Chi or qing gong. I know I know—it looks slow and kind of boring, but hear me out. It’s like moving meditation, and if you’re someone who struggles with anxiety (like meeey), this will center you like nothing else. It’s not about burning calories or anything like that; it’s about connecting your body and mind in the most peaceful way. Even just 10 minutes a day leaves me feeling lighter and more focused. (Click here to watch a video of it) When I first started, I thought, 'This is way too slow for me.' But then something clicked. The slowness is the point. It forces you to focus on your breathing, your posture, and every little movement. It’s like a moving meditation that clears your mind while strengthening your body.

© bloomzone

[fuckyeahchinesefashion]

cover: 云宫迅音yun gong xun yin （cr: 安迪原声吉他）

Journey to the West Opening Theme / Immortal Sound Above Cloud Palace) — Xu Jingqing (许镜清)

[royaltea000]

Qitian dasheng and other outfit concept sketches

[mixedupmojo]

Weird isekai idea that I had that I just wanted to realise into the wild.

Ok so you know how there are multiple stories out there about reader getting transported into the world of journey to the west and then ending up tagging along as the pilgrims make their way west. Here's the thing most of the time these story's take place once the group has already been assembled or the reader ends up meeting Tripitaka first.

So here's the thought what if reader meets Wukong before the group has a chance to get together. Let me explain.

So imagine reader has just arrived in a strange new world and they have absolutely no clue where they are or how they got there and are freaking out really badly. So they start calling out to see if there is anyone nearby that can help them and after a good few minutes of wandering around and shouting for help they suddenly get a reply. Relived they rush towards the voice, only to find that the person that was calling to them wasn't a person but a monkey that looks to be trapped within the rock of a mountain. And it only takes them a second to realise that this isn't just any monkey but thee monkey, the monkey king, Sun Wukong himself and somehow they've been transported into the story of journey to the west. Their internal crisis soon gets interrupted as Wukong starts asking if they wouldn't mind helping him out with his situation. Knowing the story not to mention what Wukong's capable of they immediately disagree much to Wukong's outrage. At Wukongs outburst they go to leave but that’s when they realise that they still have no clue where they are and what's worse no idea who could help them except for maybe Tripitaka so they resolve to wait for him much to Wukong confusion. Realising that it might not be a good idea to tell him that they are not exactly from this world they stick with the hopelessly lost excuse. which Wukong responds with that he would be happy to help them out if they let him out which is an obvious no so things quickly devolve into a stale mate.

Days go by and they end up talking a lot, with Wukong casually trying to convince them to take off the seal every now and then and them always refusing. But as the days go by the more anxious and worried reader gets after all they have no idea at what point in the story they are and it could very well be a hundred year before Tripitaka will eventually show up. Food and shelter are also a worry as they've managed to get by due to it being summer and there is plenty to forage and a small cave nearby that they've been using for shelter but they know it won't last forever. but most of all they really, really want to go home they miss their family their friends they miss their life. More time goes by and day by day reader and Wukong bond even more to the point where the monkey king has actually grow quite fond of them and cares quite a lot to the point that he starts helping them out in what little ways he can. He even stops constantly trying to get them to remove the seal on the mountain only occasionally asking every now and then and its usually only after he see them struggling, instead he's taking the time to ask them about themselves and find out more about them and in return he tell them about himself usually stories of his glory days. eventually they come clean about the fact that they are not from this world and how they have no idea how they got here or how to get home, breaking down a bit as Wukong resolves to help in any way he can. Then one day it happens completely unprompted reader suddenly get up and start walking away at first Wukong doesn't think anything of it as they often leave to look for food and other such things but as the hours go by and they've yet to come back Wukong starts to worry think that something bad might have happened to them before he gets the horrible thought that they might have just finally got sick of waiting and left him. Stewing in his thought the monkey king slowly growing more and more enrage and heartbroken at the potential betrayal. when suddenly he can feel it, he can feel the mountain shift and he realise what they have done. It's after another few hours pass that he hears them running down the mountain catching a quick sight of them as they run past him. it doesn't take him long to realise that they are getting a safe distance away and he waits a few more hours before he finally breaks free. Meanwhile your despriatly trying to catch your breath as you watch the entire mountain explode chunks of rock flying in all directions and your barely able to make out a reddish orange blur coming towards you before your enveloped in a bone crushing hug.

Thus beings their own journey to find a way to get reader home.

I dunno I just really like the idea of Guanyin or Tripitaka turning up and Wukong not being there and all of haven freaking out because the monkey king is on the loose and no one has any idea where he is.

[toffee-beans]

So how about that new octonauts show huh

[yebreed]

Dragon Kings of the Four Seas

Renowned Shanghai painter’s Dai Dunbang (戴敦邦) 20th century illustration for the Chinese Ming dynasty classic “Journey to the West” (《西遊記》) attributed to Wu Cheng'en (吳承恩).

[peekofhistory]

Hello there! I recently discovered your blog and it's really wonderful resource. I have a question and maybe you would be able to answer. From what I know the mourning garments are white, and I've seen some in movies or dramas. But I also saw many hanfu or hanfu-like costumes in dramas that predominately use white as a color for characters. So I am a bit confused, if what is considered mourning garment is much different (in style or in cut)? or the white clothes in dramas are just something modern and for aesthetics? I hope I'm making sense here.. Anyways, cheers and thanks in advance!

Unf, such amazing questions, I love it ❤️❤️

I'm going to answer this one very carefully because I don't want to get screamed at for "gatekeeping" 😆 Right off the bat I'm going to put a disclaimer:

Whatever show you enjoy, whichever actor/actress you like, you do you and have a good time. What I'm going to write is ONLY some trends in Chinese TV/movies over the past few decades, I'm not saying any show isn't "good", please don't hate me.

You're absolutely correct that historically, Chinese mourning clothes are white, but not just white, the material is also important. The actual term for mourning is "披麻戴孝" so if we break the words down:

披 (pi) = to wear on the body (like a cape) 麻 (ma) = hemp (fabric) 戴 (dai) = to wear, to hold, to have 孝 (xiao) = filial piety, show honour and love towards one's parents

So it's wearing white hemp and some sort of white fabric on the head to express one's respect for an elder. Mourning wear is only for those who are older than you (ex. parents, grandparents, older siblings, etc.), of a higher rank, or in some cases your superior (ex. solders in a battalion wearing mourning clothes when their captain passes).

I'll use some screenshots from the 1994 version of Romance of the Three Kingdoms as an example:

Pic 1-3: The emperor has passed away in this situation so everyone is in full mourning attire. His court (pic 1), his concubine (pic 2), his kid (pic 3). If you enlarge the image, you'll see the material they're wearing is quite rough-looking (best seen in pic 3, the other images' resolution aren't great).

Pic 4-6: In this funeral, the Wu Kingdom's Commander of the naval forces has passed away, so almost everyone is in full mourning because that's a very high rank.

Pic 5: You'll see the man on the right isn't in mourning because he's head of the Wu Kingdom, so his rank is higher than the Commander, therefore he doesn't wear mourning clothes.

Pic 6: This man is a visitor and frenemy of the Commander. He's coming from the Shu (Han) Kingdom and because they're not from the same Kingdom, there's no consideration of whose rank is higher or lower. Therefore, he's only worn a strip of white cloth over his hair out of respect (he technically doesn't even need to wear that). Now, obviously, even though he's not required to wear white hemp mourning clothes, it's not a good idea to show up in flashing pink or electric orange (very disrespectful), so he's gone with a soft, pale blue

Pic 7: In this image, a distant relative of the leader of the Shu (Han) Kingdom has passed away (at this point in the show the Kingdom hadn't been established, so he's only the head of a province). This particular relative is younger than everyone present, so; a) he's not ranked above them b) he's not older than them

Therefore, none of them are in full mourning, but they've tied a white cloth to their belt to express respect.

The man in blue, on the right, with the black hat is a visitor from the Wu Kingdom, so much like in Pic 6 he's coming to pay respect to someone not from his Kingdom (doesn't matter the rank) and not his senior) so he's not in mourning clothes (he doesn't even have a white cloth at his belt when he turns around).

So yes, white is traditionally a mourning colour but not all white coloured clothing is for mourning. If you're wearing a white silk robe with embroideries and designs, that's not considered mourning clothes.

Now, having said that, traditionally people still tried to stay away from full on, completely white outfits from head to toe. It's just not a lucky colour to wear. A jacket that's white, or a skirt that's white with a coloured border or some colourful accessories, not a big deal, but if you're going full white in everything...just, no, lol.

As for the Chinese period dramas/movies of today...that's a really deep well to dive through. I'll try to summarize it here and do more detailed posts later on.

TV dramas/movies are never 100% historically accurate, I'm sure everyone knows this, and we don't expect them to be. But for the Chinese entertainment industry it's been becoming less and less accurate in the last 20-25 yrs or so. In terms of clothing/make up/hair/set design/aesthetics in general, there's debate on why these changes have occurred (some say video games, some say foreign aesthetic influence, etc.) but the final result is a LOT of the costumes you see in period dramas today are very, very not historically accurate or even fitting to what is considered "traditional" Chinese aesthetics.

There's a LOT of these "Xianxia" shows going around, stories about immortals and "Gods", "xian/ 仙". I guess the character designers today feel that white somehow makes the characters feel more "immortal", more other-worldly, an imported aesthetic mainly from the West where "white" has been associated with "purity". There's actually growing push-back from the Chinese audience inside China against the character designs in recent years because people are beginning to feel like we're losing OUR aesthetic, these designs aren't what OUR Gods and immortals traditionally looked like. Here's a comparison:

On the left we have some shows and movies from the 80s and 90s, on the right we have more recent shows.

I'll be honest...some of the clothes on the right I barely consider "Hanfu". That's not to say they're not pretty, but the Hanfu influence in them is so small at some point I start thinking, "You're essentially wearing a large-sleeved dress...". In addition to the clothes, there's the hair, the makeup, even the buildings...they're...kind of East Asian styled but not really? I can't even say they're Chinese-styled because it's so generically East Asian some of these set designs.

Traditional Chinese aesthetics favoured bold colours, and the more power and wealth you had the larger the hair styles for women, with rich, beautiful accessories. Gardens and buildings are not minimalistic at all (that leans more Japanese style), rooms are not large and empty, even in large buildings each individual room are sectioned to be fairly small. There's a running joke on Bilibili (Chinese youtube) that the Heavens have gone bankrupt these days because the costumes, the hair, and buildings look so...bare xDD

Some audiences will say these shows are fiction anyway, not set in any particular time or country but...I mean, clearly they're not writing about a Western immortal or an African God, these stories are set in the frame of Chinese characters.

In any case, basically what I'm saying is, take the Hanfu you see in dramas/movies with a grain of salt. Sometimes with a whole bag of salt. It's absolutely no problem to like them, enjoy them, cosplay them, buy them, but don't link them to anything with history unless you do some research.

And again, not saying any show is good or bad, enjoy whatever you want, this is only an opinion regarding trends in Chinese period dramas/movies. If you'd like to see what a traditional Chinese image of "Heaven" and immortals look like, here's a video from the 1986 version of Journey to the West. This is a show I would say over 80% of Chinese people have seen, most of us watched it as kids. Many, many people think it recreates the image most Chinese people have of what our "Heaven" looks like:

Src: 嗑学家与挑剔学家 【86版西游记演出了中国传统神仙该有的样子】 https://www.bilibili.com/video/BV1DV4y1g73N/

[generalcornetto]

[niteshade925]

April 12, Xi'an, China, Daci'en Temple/大慈恩寺 and the Giant Wild Goose Pagoda/大雁塔 (Part 3 - History):

The entrance to the Xuanzang Memorial Hall:

Xuanzang/玄奘 (602 - 664 AD; birthname Chen Yi/陈祎) was a famous Chinese monk, scholar, and translator who journeyed throughout Central Asia and India to bring Buddhist sutras from India and translate them into Chinese. He was also the founder of the Consciousness-Only School/唯识宗 of Chinese Mahayana Buddhism.

A statue of Xuanzang in the memorial hall:

Xuanzang's 17-year journey from Chang'an (Xi'an) to India and back drawn out on a map. The route he took to India is in red, and the return route he took back to Chang'an is in green. On his way he traveled through many kingdoms in Central Asia and India, and he would later compile his experiences into the work known as Records of the Western Regions/《大唐西域记》. This work is still very important for historians and archaeologists studying Central Asian and Indian history, because it gives locations of important sites, such as the ruins of Nalanda monastery (phonetically translated as 那烂陀寺 in Chinese) in modern day Bihar. The Ming-era novel Journey to the West/《西游记》 was also very loosely based on this work; more specifically, the novel was based on folk tales about Xuanzang's travels, which was in turn loosely and partially based on Xuanzang's experiences recorded in this book.

(Metal?) wall murals and a giant wood relief depicting Xuanzang's early life and his journey to India and back (generally viewed in order from left to right since it's a continuous narrative):

Biography of the Tang Dynasty Buddhist Tripitaka Master Xuanzang of the Great Ci'en Temple/《大慈恩寺三藏法师传》 (alternatively translated simply as "The Life of Xuanzang"), written by Xuanzang's disciple Huili/慧立 in 688 AD.

An artifact not strictly related to Xuanzang: Ritual Confession of Mercy Temple/《慈悲道场忏法》, a Buddhist repentance work/忏文 written for Emperor Wu of Liang (464 - 549 AD) for the purpose of conducting a "ritual of transcendence" (called 超度; I could not find an English translation for this so this is my own translation) for the emperor's deceased wife. This particular version was printed in Ming dynasty in 1608.

Ceiling of the memorial hall, decorated with Sanskrit characters:

The second exhibition hall also has wall murals and a giant wood relief, this time depicting Xuanzang's life after returning to China:

Xuanzang has stated that the purpose of his journey was to bring back Buddhist sutras in their original Sanskrit, so that the integrity of the original texts may be better preserved in future translations and a more faithful interpretation of the sutras may be achieved. When he returned from India in 645 AD, he brought back with him 657 Buddhist texts in Sanskrit, and with support from Emperor Taizong of Tang, he proceeded to translate these texts into Chinese with his team of translators.

Daci'en Temple still preserves less than 20 leaves of the original palm leaf manuscript/贝叶经 brought to China by Xuanzang. I didn't get to see these artifacts myself, but just for reference, here are some potato quality pictures I've found online:

Below is a part of a (Ming-era? Not sure) printed copy of the Mahā-prajñāpāramitā Sūtra (《大般若经》 or 《大般若波罗蜜多经》 in Chinese), which was translated into the Chinese text seen here by Xuanzang and his team:

Part of Complete Translations by Master Xuanzang/《玄奘法师译撰全集》:

A view of the exhibited part of the collection of works that were either by Xuanzang or written about Xuanzang. Being an aspiring translator myself and knowing that these were works connected to a great translator who lived 1300+ years ago, there is just a feeling of awe here that can't be described properly in words...

There's also the twin steles associated with Xuanzang at the foot of the Giant Wild Goose Pagoda. The stele on the west (below left) was written from right to left, composed by Emperor Taizong of Tang Li Shimin/唐太宗 李世民, while the stele on the east (below right) was written from left to right, and was composed by Emperor Gaozong of Tang Li Zhi/唐高宗 李治 (the two emperors are father and son). The calligraphy for both steles was provided by Chancellor Chu Suiliang/中书令 褚遂良. Both steles gave an account of Xuanzang's life and praised him for his achievements, and both were erected in 653 AD. Since I didn't go into the pagoda, I didn't see these two steles (I believe one of them isn't at the pagoda anymore? It might be at Beilin Museum now), so here are pictures of the ink rubbings from Open Museum (open in new tab to view the full image):

And finally, some fun souvenirs from the gift shop! These are tiny incense pellet holders topped with the twelve zodiac animals

A funny greeting card that translates to "And We miss you too" (朕 is a first person pronoun used exclusively by emperors to refer to themselves; today many people use 朕 to jokingly refer to themselves)

[fuckyeahchinesefashion]

beauties in 1986 chinese drama journey to the west

[klauuyt]

Just a sketch of this version of Jiang. She have an androgynous appearance so no one knows if they are a man or a woman.

Wukong at first wondered what it was and realized that she was a woman but he made fun of her for not having such a feminine body, which would lead to constant fights between the two because of it.

[asiandramasource]

LU YU XIAO as SHANG GUAN QIAN YU SHU XIN as YUN WEI SHAN

in 云之羽 My Journey To You (2023), dir. Guo Jingming

[xiaolanhua]

LU YU XIAO and CHENG LEI Harper’s Bazaar China photoshoot

[masteranthrag]

My sketch version of ErlangShen ✨

[heymeowmao]

一念关山 | A Journey to Love E6 ° asshole cat energy