#Mong=Gong

[bandcampsnoop]

9/18/24.

I'm a pretty big fan of Gong Gong Gong (工工工...if you want to search for their releases on Discogs, you'll need to copy and paste that) going back to 2016's post about the President Piano Co. Tape. They've received posts and mentions since. They've been brought up in a post about Naja Naja and The Offset. And their LP on Wharf Cat Records - "Phantom Rhythm" - is still one of my favorites.

"Mongkok Duel" is a collaboration between the Beijing based Gong Gong Gong and the Taiwan based Mong Tong. According to the Bandcamp page, "Mongkok Duel" "an imagined soundtrack for a lost kung-fu film. These are the sonic accompaniments, no doubt, to a supernatural tale of honour, intrigue, and (of course) revenge."

I can't quite tell which label is releasing this. It was originally released in 2023 by Rose Mansion Analog.

[toffeethief]

Gong Gong Gong 工工工 & Mong Tong - Escaping Encirclements 出重圍

[marxalittle]

Starts and Moves, 2024/10/05-2024/10/11

in the background, Dracula fends off the Wolfman with whatever furnishings come to hand

I’m pleased to announce that significant progress has been made on RUBBER DUCKIE PORTRAITS, the art zine you didn’t know would change your life, and that pre-orders are open. Contact me through any means at your disposal to get your name on the list. There may even be a fancy color cover version, depending on what the budget stretches to and what the printer can accommodate. Speaking of which, I…

[sonicziggy]

"Escaping Encirclements 出重圍" by Gong Gong Gong 工工工, Mong Tong https://ift.tt/p7oDGH5

[musicmovesmarceline]

Listen/purchase: Unreal Shapes (Dreamland II) 幻境二 by Gong Gong Gong 工工工 & Mong Tong

[sxyx]

B side awesome!

[don-dake]

[Insta: beinghongkong]

Saw this on Instagram earlier, thought what a strange coincidence it was when I was just thinking about the Ancient Chinese time-keeping method (see “子, 丑, 寅, 卯” link below) not too long ago! Gonna translate the other characters just for fun! Also as a future ref. for myself.

「二十四節氣組合宇時計」

“The Clock of 24 Solar Terms”

立春、雨水、驚蟄、春分、清明、穀雨。

🇭🇰🇲🇴 laap⁶ ceon¹, jyu⁵ seoi², ging¹ zat⁶, ceon¹ fan¹, cing¹ ming⁴, guk¹ jyu⁵

🀄 ㄌㄧˋㄔㄨㄣ，ㄩˇㄕㄨㄟˇ，ㄐㄧㄥㄓㄜˊ，ㄔㄨㄣㄈㄣ，ㄑㄧㄥㄇㄧㄥˊ，ㄍㄨˇㄩˇ

🀄 lì chūn，yǚ shuǐ，jīng zhé，chūn fēn，qīng míng，gǔ yǚ

立夏、小滿、芒種、夏至、小暑、大暑。

🇭🇰🇲🇴 laap⁶ haa⁶, siu² mun⁵, mong⁴ zung³, haa⁶ zi³, siu² syu², daai⁶ syu²

🀄 ㄌㄧˋㄒㄧㄚˋ，ㄒㄧㄠˇㄇㄢˇ，ㄇㄤˊㄓㄨㄥˋ，ㄒㄧㄚˋㄓˋ，ㄒㄧㄠˇㄕㄨˇ，ㄉㄚˋㄕㄨˇ

🀄 lì xià，xiǎo mǎn，máng zhòng，xià zhì，xiǎo shǔ，dà shǔ

立秋、處暑、白露、秋分、寒露、霜降。

🇭🇰🇲🇴 laap⁶ cau¹, cyu² syu², baak⁶ lou⁶, cau¹ fan¹, hon⁴ lou⁶, soeng¹ gong³

🀄 ㄌㄧˋㄑㄧㄡ，ㄔㄨˇㄕㄨˇ，ㄅㄞˊㄌㄨˋ，ㄑㄧㄡㄈㄣ，ㄏㄢˊㄌㄨˋ，ㄕㄨㄤㄐㄧㄤˋ

🀄 lì qīu，chǔ shǔ，bái lù，qīu fēn，hán lù，shuāng jiàng

立冬、小雪、大雪、冬至、小寒、大寒。

🇭🇰🇲🇴 laap⁶ dung¹, siu² syut³, daai⁶ syut³, dung¹ zi³, siu² hon⁴, daai⁶ hon⁴

🀄ㄌㄧˋㄉㄨㄤ，ㄒㄧㄠˇㄒㄩㄝˇ，ㄉㄚˋㄒㄩㄝˇ，ㄉㄨㄤㄓˋ，ㄒㄧㄠˇㄏㄢˊ，ㄉㄚˋㄏㄢˊ

🀄 lì dōng，xiǎo xüě，dà xüě，dōng zhì，xiǎo hán，dà hán

And, some may be wondering (as I did initially) why 「寅」 appears to be mapped to 12 o'clock (the first position) in the clock in the first pic, instead of 「子」 as is usually the case, the reason is that that clock emphasises the Solar Term calculations.

Basically, something about calculating the sun's ecliptic longitude, and 「立春」 (Start of Spring) happens to correspond to 「寅」 (the Tiger Zodiac) rather than 「子」 (the Rat Zodiac). It's quite a complicated thing and I'm not knowledgeable enough to expound on it further. Please read up more on “Solar Term” (Wiki link given above) if interested!

If we are just talking about a 24-hour time frame according to a Gregorian time-keeping system, and someone wants to map an Ancient Chinese time-keeping format to the modern clock, then starting with 「子」 is (usually) the way to go.

子、��、寅、卯、

辰、巳、午、未、

申、酉、戌、亥

Glad to say I'm finally reciting the order of Ancient Chinese time-keeping correctly! Guess seeing cartoon Zodiac animals did help! 哈！(see above link for ref.)

Here's a pic showing an example of another analog clock with 「子、丑、寅、卯…etc.」 replacing the usual numbers:

[todaysdocument]

Affidavit presented by a Chinese Inspector to the U.S. Circuit Court in New Jersey requesting that twelve Chinese men, arrested in Weehawken, New Jersey, be detained.

Record Group 85: Records of the Immigration and Naturalization ServiceSeries: Chinese Exclusion Act Case FilesFile Unit: Case File 19/1490: File for twelve Chinese men

This document is filed with the Chinese Exclusion Act smuggling case file involving twelve Chinese men.

UNITED STATES OF AMERICA ) DISTRICT OF NEW JERSEY. ) HARRY R. SISSON, being duly sworn on his oath says: that he is an inspector, duly ap- pointed by the Treasury Department of the United States, (now acting under the department of commerce and labor) [appears to be typed in post writing] under the Chinese Exclusion Act; that on the morning of October second, nineteen hundred and three, at about seven A.M., twelve Chinese persons arrived at Weehawken, New Jersey, on the West Shore Railroad, from Frankfort, New York; that deponent, having been informed that she said defendants were being unlawfully introduced into the United States, found that they had no certificate entitl- ing them to admission into the United States, as required by the Chinese Exclusion Acts and - - - - - by law; and that they are laborers; and from the informal- tion and belief which deponent has, said persons are un- lawfully in the United States, to wit: Li Du, Lun Mong, Gong Don, Kan Tai [Kan is handwritten over typed name], Jung Huio, Jung Way, Ong Non, Jung on Yo, Yeo Hok [y is handwritten over typo], Yee Mon [y is handwritten over typo], Wong Wah, Chu Sing; deponent there- fore prays that said twelve Chinese persons may be de- gained until their right to come into and remain in the United States be determined. Sworn and subscribed to before me this 2nd day of October, A.D., Harry R. Sisson. 1903, at Hoboken, N. J., Edward Russ, U. S. C., N. J.

UNITED STATES DISTRICT COURT. The United States of America vs Li Du and thirteen others. COPY OF AFFIDAVIT. I hereby certify that the within is a true copy of the original affidavit. U. S. Comr. as set forth within. [typed] EDWARD RUSS UNITED STATES COMMISSIONER DISTRICT OF NEW JERSEY [stamped]

[recentadultburnout]

Info for writer in Thai series fandom: Thai classical music

Thai musical instruments can be divided into 4 types according to their sound-producing characteristics:

Plucking (plucked string instruments; เครื่องดีด, khrueang dit)

Bowing (bowed string instruments; เครื่องสี, khrueang si)

Striking (percussion instruments and hammered dulcimer; เครื่องตี, khrueang ti)

Blowing (wind instruments; เครื่องเป่า, khrueang pao)

Wikipedia

Example

เครื่องดีด Plucking

Chakhe (จะเข้) - crocodile-shaped fretted floor zither with three strings. The first two strings are made from silk, and the last is made from bronze

Phin (พิณ) - There are many different types according to the region.

Phin hai (พิณไห) or hai song (ไหซอง) - a set of earthenware jars with rubber bands stretched over the open mouths

Phin phia (พิณเพียะ) - chest-resonated stick zither played by the Northern Thai people

Phin namtao (พิณน้ำเต้า) - a single string harp made from the fruit of a gourd cut in half.

Krachappi (กระจับปี่) -  A plucked, long-necked fretted lute used in the classical music of Central Thailand.

เครื่องสี Bowing

Saw duang (ซอด้วง) - higher two-string fiddle with hardwood body; used in classical music

Saw sam sai (ซอสามสาย) - three-string spike fiddle with coconut shell body; used in classical music; also known as the most beautiful of the fiddles

Saw u (ซออู้) - lower two-string fiddle with a coconut shell body; used in classical music

Saw saw krapawng (ซอกระป๋อง)- two-string fiddles with body made from a metal can; used in the Isan region; saw krapong is smaller

Saw pip (ซอปี๊บ) In a larger version of the saw krapang, the resonator is made of aluminum or large stainless steel crafted into the box. Bamboo neck and wooden pegs (shaft), it uses steel strings. The sound is lower than that of saw krapang. Usually, saw pip is only for the blind and beggars used for the purpose of busking to earn money.

Saw bang/Saw phu thai (ซอบั้ง) - a made from bamboo, used in the Isan region. It is similar xi xa lo of Thai people (Vietnam).

Salo (สะล้อ) - two- or three-string spike fiddle used in the northern region

เครื่องตี Striking

Krap (กรับ) - clapper

Krap phuang (กรับพวง) - bundle of hardwood and brass slats, tied together at one end

Krap sepha (กรับเสภา) - pair of bamboo or hardwood sticks

Ranat (ระนาด) - trough-resonated keyboard percussion instrument; generally played with two mallets and used in Thai classical and theater music

Ranat ek (ระนาดเอก) - higher xylophone, with bars usually made of hardwood

Ranat ek mahori (ระนาดเอกมโหรี) - It is shaped like a xylophone Ek of Piphat in all respects, but is smaller in size and Luk Thuan (lowest sound) are 2 tones higher than in a Piphat ensemble, comparable to the sound of Ti and then runs all the way to Luk Yot. (Highest sound) equal to the sound La (number of 21 xylophones) or sound of a Ti (number of 22 xylophones).

Ranat thum (ระนาดทุ้ม) - lower xylophone, with bamboo or hardwood bars

Ranat thum mahori (ระนาดทุ้มมโหรี) - smaller in size and Luk Thuan (lowest sound) is comparable to the sound Sol and runs all the way to Luk Yot. (Highest sound) is the sound that has a total of 17 key.

Ranat ek lek (ระนาดเอกเหล็ก) - higher metallophone

Ranat thum lek (ระนาดทุ้มเหล็ก) - lower metallophone

Ranat kaeo (ระนาดแก้ว) - crystallophone; very rare

Link

There are 2 type of Ranat mallets, soft and hard.

Khong

Khong chai (ฆ้องชัย), also called khong hui (ฆ้องหุ่ย) or khong mui (ฆ้องมุ่ย) - huge hanging bossed gong used for indicating time

Khong mong (ฆ้องโหม่ง) or mong (โหม่ง) - medium-sized hanging bossed gong used in Thai ensembles

Khong meng (ฆ้องเหม่ง) or khong kratae (ฆ้องกระแต) - small bossed gong used as a signaling device and in traditional parades with klawng yao

Khong rao (ฆ้องราว) - three bossed gongs (small, medium, and large) suspended vertically in a wooden frame; rare

Khong khu (ฆ้องคู่) - pair of small bossed gongs suspended horizontally in a wooden box; used in theater music and music of southern Thailand

Drums

Taphon (ตะโพน) or klawng taphon (กลองตะโพน) - sacred barrel drum; played with the hands and used in the piphat ensemble and it is an membranophone.

(The brown stuff we see in the trailer from Be On Cloud is probably cooked rice mixed with ashes that have been attached to get the desired sound.)

Taphon mon (ตะโพนมอญ) - large drum played with the hand, used in the piphat mon

Klong that (กลองทัด) - large drum played with sticks; usually played in a pair and used in the piphat ensemble

Klong chatri (กลองชาตรี), also known as klong tuk (กลองตุ๊ก) - same as klong that but smaller, played with sticks; used in the piphat chatri

Rammana (รำมะนา) - frame drum; played with the hand

Thon (โทน) - goblet drum; played with the hand

Thon chatri (โทนชาตรี)

Thon mahori (โทนมโหรี)

Klong thap (กลองทับ) - goblet drum used primarily in southern Thai folk music, also used to create a beat in southern that shows or Nora shows.

Klong khaek (กลองแขก) - barrel drum; played with the hands and generally played in pairs

Klong song na (กลองสองหน้า) - barrel drum; played with the hands

Klong yao (กลองยาว) - long drum; played with the hands

Poeng mang khok (เปิงมางคอก), or simply poeng mang (เปิงมาง) - set of tuned drums used in the piphat mon

Klong bantho (กลองบัณเฑาะว์) - smallest hourglass pellet drum, like the Damaru and Dhadd in India; used in the Royal Thai Brahmanism-Hinduism Ceremony or ritual about the Thai Royal Family

เครื่องเป่า Blowing

Khlui (ขลุ่ย) - vertical duct flute made of bamboo, hardwood, or plastic

Khlui lib (ขลุ่ยหลิบ or ขลุ่ยหลีบ; treble); not commonly used

Khlui phiang aw (ขลุ่ยเพียงออ; medium)

Khlui u (ขลุ่ยอู้; bass); not commonly used

Pi (ปี่) - quadruple- or double-reed oboe

Pi chanai (ปี่ไฉน) - possibly derived from the Indian shehnai

Pi chawa (ปี่ชวา) - used to accompany Muay Thai

Pi mon (ปี่มอญ; မွန်နှဲ) - large double-reed oboe with detachable metal bell; used for funeral music

Pi nai (ปี่ใน) - standard leading instrument used in the piphat ensemble

Pi klang (ปี่กลาง)

Pi nok (ปี่นอก)

There are mainly three types of Thai classical music: Khrueang Sai, Piphat, and Mahori Ensemble, each with its own sub-genre.

Tradition

It is a tradition that players must respect the instrument. Before and after playing, the player usually raise their hands to wai the instruments because Thai instruments are considered to have "Khru," which means that the instruments that we use and knowledge of Thai music is something we can only have because those before us have invented and passed it on, so we must respect them.

Wai Khru and Khrop Khru ceremony

a very important ceremony for people who study traditional Thai arts, whether they are music, dance, Khon or artisan.

Wai Khru is to perform a ceremony to pay respects to the teacher.

There are many other different types of Wai Kru, such as Wai Kru in school, which is a ritual on Teacher's Day. Wai Kru Muay, which is a Wai Kru in the style of Thai boxing, as well as Krabi Krabong, Wai Kru before performing musical arts such as shadow puppets and Wai Kru in poetry, called "Asiravat," ect. The purpose is to commemorate the merit of Kru and ask for auspiciousness. Traditionally, a Wai Kru ceremony is held on Thursdays.

Khrop Khru is to get approval to start studying at that stage.

There are different ways to do the Khrop Khru ceremony depending on what kind of Thai art it is for. As for music, it considers learning Piphat to be the most important, so the Khrop Khru ceremony for learning Piphat has more steps than for learning Khrueang Sai or singing.

The Khon head used in the ceremony consists of

Shiva's Khon The symbol of Lord Shiva, who is considered one of the great gods and is the god of destruction, When we set the mask or head, we must set it higher than the other masks.

Phra Narai's Khon symbol of Lord Narayana, which is considered a god who manages and heals the world. When we set the mask or head, it must be lower than Shiva.

Brahma Khon is a symbol of Lord Brahma, who is considered the god who created the world. When we set the mask or head, it must be lower than Shiva but always with Vishnu.

Indra Khon symbol of Indra, which is considered a god who will help the good people, the cause of the rain, to give succulence to the crops of the earth. When we set the mask or head, we must set it lower than Shiva, Vishnu, and Brahma.

Ganesha Khon The symbol of Lord Ganesha, who is considered the god of knowledge, wisdom, and liberal arts, is supreme above all obstacles. He is a deity who is beyond the writings of books. When we set the mask, we must set it to be lower than other gods, but can be around the same level as Indra.

Vishnu Khon The Symbol of Vishnu, which is considered the god of construction workers and related to the Chatree drama, there is believed that his highness will come down to the pillar in the middle of the Chatree stage to protect against all dangers. When we set the mask, it must be lowered by Shiva, Narai, Brahma, Indra, and Ganesha.

Narada Muni Khon is the symbol of the Narada Muni, which is considered a Piphat teacher and the inventor of thai harp. He is the author of the Scriptures of Law, known as "Naratiya Thammasat". The head will be set up on the right side of the stage with the heads of various hermit monks.

Panchasikorn hermit's khon is the symbol representing Phra Panchasikorn, which is considered to be a teacher of harp and singing. When we set the mask or head, it will be located on the right side of the stage with the heads of various hermits.

Khon Phra Phirap, symbol of the Phra Phirap, is considered a powerful demon teacher, to whom the Khon-drama and Thai music artists pay their respects as teachers of music and dance. He is the god of death and calamity. At the same time, he is the god of luck, who can eliminate various diseases. We will place the mask or head on the left side of the stage, lower than Shiva but higher than other giant masks, and separate it from the gods or humans.

Kolaikodi hermit, Pharot hermit, Bull's Eye Hermit, Fire Eye Hermit Khon heads represent each of them, which are considered human teachers who take note of Shiva's dance moves and posture and convey them to us. Artists studying Thai traditional art must respect all of them, but the most frequently mentioned and worshiped is the Pharot hermit (Old Father), who is considered the direct teacher. When we set the mask or head, we will set them on the right side of the stage, separated from the gods or demons.

Source

The different Khrop Khru ceremonies for each type of music are as follows:

By cymbals

The cymbal is used in ceremonies for everything that is inconvenient to holding hands or any learners who do not learn what is classified as a Naphat song, such as those who play Khrueang Sai or sing. The teacher, who is the one to give approval for them to learn, will use cymbals in the ceremony.

By holding hands (for people who studying Piphat)

The details are as follows:

First time

Students prepare flowers, incense, candles, and money to give to the teacher as a token of respect. Then the teacher holds the student's hand and guides them to play khong wong yai. Play Sathukan's (สาธุการ) song three times, and it's done. That student is considered ready to start studying Piphat. They will start by learning the Sathukarn song from any teacher until they can play it from start to finish, and then learn all the songs in the homrong evening set (Song Naphat, primary stage), with the exception of the Tra homrong song, which one will need to receive the second Khrop Khru ceremonies before learning. * homrong (โหมโรง) = The first song played before a performance to signal that the event has begun.

2nd time

When the student completes all the songs in the homrong evening set, and ready to learn the Tra homrong song, The teacher will do the ceremonies for them by holding their hands and guiding them to play khong wong yai, Tra homrong song, three times.

3rd time

Time for the homrong midday. The teacher will hold the student’s hand and guide them to play khong wong yai, trabong kan song, three times.

4th time

Started to learn high-level Naphat music. The teacher will hold the student’s hand and guide them to play khong wong yai, batsakuni song, three times.

5th time

In this step, the student will get to learn Song Phra Phirap, which is the song that is at the highest level.

The qualifications of the recipients at this stage are as follows:

That person has to go through the 4 stages of initial Khrop Khru ceremonies already. This means that the attendees must learn all the Naphat songs that are required in each Khrop Khru ceremony already.

must be at least 30 years of age, or have been ordained as a monk, or otherwise have to receive royal permission from His Majesty the King.

If it is considered that the learner has enough qualifications, then they will be allowed to learn the song Phra Phirap with the following steps.

Light incense, candles, and flowers to worship Phra Phirap before the beginning of the song.

The teacher who performed the ceremony held the students' hands and guided them to play khong wong yai to the melody at the beginning of the song 3 times.

They should study all the remaining parts of the song or review it on Thursday.

For the prosperity of both those who perform the ceremony and the participants in the ceremony, they must follow the steps and must remember the sanctity of ceremonies strictly.

Source

Index

[444namesplus]

Ba Ban Bang Be Ben Beng Bi Bia Bian Biang Bie Bien Bieng Bing Bio Bion Biong Biu Biun Biung Bo Bon Bong Bu Bun Bung Cia Cian Ciang Cie Cieng Cii Ciia Ciian Ciiang Ciie Ciien Ciieng Ciin Ciing Ciio Ciion Ciiong Ciiu Ciiun Ciiung Cio Cion Ciong Ciu Ciun Da Dan Dang De Deng Di Dia Dian Die Dien Dieng Din Ding Dio Dion Diong Diu Diun Diung Do Don Dong Du Dung Fa Fan Fang Fe Fen Fi Fia Fian Fiang Fie Fien Fieng Fin Fing Fio Fion Fiong Fiu Fiun Fiung Fo Fon Fong Fu Fung Ga Gan Gang Ge Gen Gi Gia Gian Giang Gie Gien Gin Ging Gio Gion Giong Giu Giun Giung Go Gong Gu Gun Ha Han Hang He Hen Heng Hi Hia Hian Hiang Hie Hien Hieng Hin Hing Hio Hion Hiong Hiu Hiun Ho Hon Hu Hun Jia Jiang Jie Jien Jii Jiia Jiiang Jiie Jiien Jiieng Jiin Jiing Jiio Jiion Jiiong Jiiu Jiiun Jio Jion Jiu Jiung Ka Kan Kang Ken Keng Ki Kia Kian Kiang Kie Kien Kieng Kin Kio Kiong Kiu Kiun Kiung Ko Kon Kong Ku Kun Kung La Lan Le Len Li Lia Lian Liang Lie Lien Lieng Lin Ling Lio Lion Liong Liu Liun Lo Lon Long Lu Lun Lung Ma Me Men Meng Mi Mia Miang Mie Mieng Min Ming Mio Mion Miong Miu Miung Mo Mon Mong Mu Mun Mung Na Nan Nang Ne Neng Ni Nia Niang Nieng Nin Ning Nio Nion Niu Niung No Non Nong Nu Nung Pa Pan Pang Pe Pen Peng Pi Pia Pian Piang Pie Pien Pieng Pin Ping Pio Pion Piong Piu Piun Piung Pon Pu Pun Pung Qa Qang Qe Qen Qeng Qi Qia Qian Qiang Qie Qien Qieng Qin Qing Qio Qion Qiong Qiu Qiun Qiung Qo Qon Qong Qu Qun Qung Ra Ran Rang Re Ren Reng Ri Ria Rian Riang Rie Rien Rieng Rin Ring Rio Rion Riu Riun Ro Ron Rong Ru Run Rung Sa San Sang Se Si Sia Sian Siang Sie Sien Sieng Sin Sing Sio Sion Siong Siu Siun Siung So Son Song Su Sun Sung Ta Te Ten Teng Ti Tia Tian Tiang Tie Tien Tieng Tin Ting Tio Tion Tiong Tiu Tiun To Ton Tong Tu Tun Tung Wa Wang Wen Wi Wia Wian Wiang Wie Wieng Win Wing Wio Wion Wiong Wiu Wiun Wo Won Wong Wu Wun Wung Xia Xian Xiang Xie Xien Xieng Xii Xiia Xiian Xiiang Xiie Xiieng Xiin Xiing Xiio Xiiong Xiiu Xiiun Xio Xion Xiong Xiu Xiung Za Zan Zang Ze Zeng Zi Zia Zian Ziang Zie Zieng Zin Zing Zio Zion Ziong Ziu Ziun Ziung Zo Zon Zu Zung

[simshousewindsor]

POWERS OF MANIPULATION

[Magical Realm "The Gardens"]

(orbing ends)

Queen Katherine: (coughing)

Grand Duchess Kamill: We don't have much time. The Limitless will sense the amulets powers in this realm soon.

Queen Katherine: Where are we? Who are The Limitless?

Grand Duchess Kamill: Quickly! Inside!

Grand Duchess Kamill: The Limitless are a group of mercenary spellcasters who search for limitless power stones. The Amulet of Amethyst hasn't been in this realm for over 100 years, its unique powers will be felt by The Limitless soon.

Queen Katherine: I don't feel safe, Kamill.

Grand Duchess Kamill: Right here. Quickly. We must begin now.

Queen Katherine: It's cold in here.

Grand Duchess Kamill: "It's time."

Grand Duchess Kamill: Mong Yong Nong A Mong E I Song...

Grand Duchess Kamill: A Mong E Tong Hong Y Song Tong...

Grand Duchess Kamill: Mong A Nong I Pong U Long A Tong I O Nong...

Queen Katherine: The Amethyst is glowing.

Grand Duchess Kamill: "I Gong I Vong E Tong Hong E E."

(Manipulation Orb forms)

Grand Duchess Kamill: I did it! It worked! I created the orb!

Grand Duchess Kamill: The rest of the ritual... What is it?

Grand Duchess Kamill: Pong O Wong E Rong Song...

Queen Katherine: What's happening? Stop!

Grand Duchess Kamill: I Gong I Vong E Tong Hong E E...

BOTH: (shrieks)

(Manipulation Orbs depart)

Queen Katherine: (collapses)

Grand Duchess Kamill: I feel its powers.

Grand Duchess Kamill: Kate? Kate! KATHERINE!

(orbing)

Previous | Beginning | Next

[toffeethief]

[irithnova]

On Pre-imperial Mongolia, the Tatars, the Jurchens, Kitans, Turkic nomads etc.

This is me trying to make sense of/simplify things I've read lol

After the fall of the Kitan empire, the Tatar rulers were freed from Liao control and went on to find their own kingdoms.

These "Tatars" first emerge as a subjected people residing in Eastern Mongolia during the era of the second Turk empire, which ruled the area of Mongolia from 682 - 744.

Throughout the Second Turk empire and the Uyghyr Empire which followed it (742-847), a majority of the herders of Mongolia spoke a Turkic language. However, the tatars were the Mongolic speaking forefront that spread from Eastern inner Mongolia, into the Mongolian steppe. The Eastern half of Mongolia was Mongolic speaking by the time of Chinggis Khan.

The tatars went on to adopt many Turkic speaking groups in Mongolia, which Turkicized their speech and political ideology.

In the 13th century, the Mongolian people had a sense of identity and awareness of their plateau, and this spanned from the Qara'un-Jidan range to the East and the Altai to the West.

However during the rise of Chinggis, there was no sole language in this area. Indeed, the Eastern half was Mongolic speaking and the Western half was Turkic speaking, so bilingualism was most likely common and the differences in the languages between the two groups did not affect their politics.

In fact, in the secret history of the Mongols, they (the Mongols) referred to everyone in this area, including themselves, as "isgei tu'urghatan", meaning, "those living in walls of felt."

Now, when I refer to "Tatar", a majority of scholars map out the political landscape of Mongolia before the rise of Chinggis using sources written by Mongolia during the Mongol Empire.

These sources, when looking back at the past before the empire, describe the "tatars" as a small group that resided along the border of present day Eastern Mongolia and Inter Mongolia.

The sources, when referring to central Mongolia, spoke of the Kereyit kingdom. When referring to Western Mongolia to Siberia, the sources referred to the Naiman Kingdom.

In comparison, the Mongols and the Merkit seemed to be two small, warring coalitions.

From these groups, the "Tatars" distinguished themselves as allies of the Jin.

All of these names however, scarcely turned up in sources referring to pre-empirial Mongolia by outsiders.

In Chinese/Song accounts, they reffered to all the people of the Mongolian plateau as tatars. In addition, they further divided these "Tatars" into groups. Black, white, raw and cooked. This is largely due to the fact that they knew little of the political landscape of Mongolia pre the rise of Chinggis Khan.

It was only until Chinggis Khan's reign, that the term "tatar" as a way to refer to the Mongols was rejected, and "Mongol" became the official name of the people.

At the time, Chinese historians like Li Xinchuan thought the Mongols to be more related to the Jurchens, however we know these days that Kitan is a closer relative to the Mongolian language. The Jurchen language on the other hand, is a Manchu-Tungusic language, not a Mongolic language.

However, modern historians have mainly accepted the hypothesis that Mongolic speaking tatars moved onto the Mongolian plateau from the Amur and other river basins of Manchuria rather than the Kitan's land of South-Eastern inner mongolia. Indeed, many Mongolic speaking peoples very possibly have lived closely with the Jurchens and shared a similar lifestyle with them.

The Chinese historians Li Xinchuan and Zhao Gong stepped into some more confusion when it came to the Mongol Empire and the Monggus kingdom that was established in the Amur valley a century earlier. Because they both share "Mong" in the name, some Song border experts may have tried to paint the Mongol Empire as a revival of the earlier Monggus kingdom. The Monggus were referred to as "water tatars", as they had fish skin clothing and ate primarily fish. The Mongols themselves made no such connection between themselves and the Monggus Kingdom.

Back to the term "tatar", and the categories of black, white, raw and cooked. Song authors, when using the terms "black" and "white", meant "North of the Gobi" and "South of the Gobi". The term "black" among Turco-Mongolian had connotations of meaning "vulgar" or "common". On the other hand, the Kitans saw it as meaning "northern" and "powerful". This is most likely the reason why they referred to themselves at the "Qara Kitat", meaning "Black Kitan".

So, if we're using the song authors division of the Northern steppe people, "Black tatar" referred to the mostly Mongolian speaking tatars North of the Gobi desert. From Mongolian sources, we know these black tatars to be the Kereyit, the Merkit, and pre-imperial Mongolia.

On the other hand, "white tatars" referred to the people, known in Mongolian accounts, as the Ong'ut. They were the descendants of the Shatuo who, during the five dynasties, established regimes in Northern China. They were a Turkic speaking group and by middle of the 11th century, they converted to Christianity.

Now, onto the Song authors terms of "raw" and "cooked". This is in reference to the Chinese viewpoint of which they saw Chinese influence as "cooking" the "raw" barbarians.

So in this sense, "raw tatars" were barbarous and had little to no Chinese influence, and "cooked tatars" were seen as civilised through Chinese eyes through their way of dress and respect for Chinese political authority.

As the South of the Gobi is closer to China, therefore receiving more influence from China, the white Tatars were considerably more "cooked" than the black Tatars who were more "raw".

Song authors often linked the origins of the Mongols to the ancient people of Manchuria. This ancient people split into the Northern Black River people and the Southern White Mountain people. The Black River they are reffering to is the Amur River in Northern Manchuria, and the White Mountain is in the border of Southern Manchuria and North Korea.

But, in the Chinese system of the "Five phases", black is the colour of the direction north and the element of water. This concept of the Northern Black River and the Southern White Mountain in a way, was kind of parallel to the differentiation between the white and black Tatars.

However, Chinese historian Li Xinchuan knew of the Tatars who resided along the Yinshan mountains in South West Inner Mongolia. Song diplomats were aware of these Tatars and they were the ancestors of the later white Tatars/Ong'ut.

So, the peoples who would later be called the Mongols during the rise of Chinggis lived closely with other pastoralists and foraging people to the north, east, south and west, and the powerful political regimes that surrounded them.

The South and East areas had the people known as the Jiun, and of course because it was South and closer to China, they were referred to as the "white" or "cooked" Tatars. However this term also included others who were living in the area, like the Tatars, Ong'ut, Kitan, Uyghurs and some Tangut.

What Song authors found common in these groups is that they essentially defended the border against the "Raw Tatars", initially for the Kitan Liao and then for the Jurchen Jin.

Despite the fact that the Jurchens built walls along this border (now roughly between inner Mongolia and Mongolia), outside of this, the borders between the Jiun (and others who lived alongside them) and the raw Tatars were pretty loose. They intermarried, joined in on each others festivals. If they were displeased with the Kitan or Jurchens, they could ally with each other to impose military action.

The Jiun were crucial to Chinggis Khan's rise. Once he established his dynasty, he quickly sorted out the Jiun people, and those who allied with him early were given more favourable roles. Those who did not were sorted into less favoured roles, like Tatar, Kitan or Tangut.

Moving to the North. The people to the North of Mongolia were called the "Forest peoples" and the "Water peoples". Siberians, essentially. The Mongols saw these people as easy pickings as they were not militaristic like the Mongols were. The Mongols could fluidly work in large groups to the point where it almost seemed like they were a hive mind, the forest and water peoples cared more for individual skill. The Mongols essentially guffawed at a lot of their traditions - like riding on reindeer (I might be wrong here with the animal they used) instead of horseback.

Back to the Raw Tatars. Beyond the Altai mountains, the Raw Tatars, who were Mongolic speaking, kept in close contact with the Turkic speaking mobile pastoralists. However the Turkic speaking nomads would often gravitate to other cultural influences and regimes.

For example, in Eastern Turkestan, the Qara Khitai held great influence over the Qarluq, Uyghyr and other Turkic speaking peoples.

Further West, in what's now Eastern/Central Kazakhstan, is where the Qangli nomads dwelled. To the West of Kazakhstan all the way to the Caucasus, Crimea, Carpathian mountains, and Slavic lands dwelled the Turkic speaking nomads known as the Qipchaks, Cumans, or what the Russians called them, "Polovsty".

These Turkic nomads had cultural ties both with the Raw Tatars in Mongolia but also major Islamic dynasties, for example, the Khwarazmian Empire (RIP).

The rulers ascended from the Turkicized inhabitants of the oasis, however they then intermarried heavily with the Qangli.

At first, the Khwarazmian Empire paid tribute to Qara-Khitai, and this gave them the go ahead to expand to the South and West. However by 1210, the empire of Qara Khitai became troubled with the huge influx of Mongolian refugees who were fleeing the rise of Chinggis Khan. This gave the Khwarazmian ruler the chance to overthrow Qara Khitai rule. Then less than a decade later the Mongols absolutely ransacked the Khwarazmian Empire lol (RIP).

Until 1210, Central Asia was either greatly influenced by the Khwarazmian or Qara Khitai empires. These oases were initially settled in by people who spoke Iranian and Toacharian languages and who followed Indian religions, primarily Buddhism.

However, by the time of Chinggis Khan, the processes of Isalmization and Turkicization meant that the central Asian oases was now divided into three zones. In Samarqand and Bukhara (South West), Persian speaking Tajiks resided there. In the North East, in Turpan and Besh-Baliq, was the Uyghur kingdom, who were Turkic speaking but were buddhist. Between them, the farmers and townspeople of the central oases of Khotan and Kashgar and the Northwest Oasis of Khwarazm were Turkic speaking Muslims.

Despite these differences, they all had a similar way of life, and dominated the caravan trade in Mongolia and Northern China. Under Chinggis Khan, the Mongols adopted the Uyghur script for writing Mongolian.

Writers of China saw all oases people as Uyghurs, like how they saw all steppe peoples as "Tatars."

Anyways this is so long and is me trying to make sense of things I'm reading lol. All of this for hetalia can you believe that 😔🐴🏹

[jaarapoc]

G*gong Bayani

Minsan ka na bang nawalan ng pag-asa

sa buhay na iginuhit sayo ng tadhana?

Ang maging alipin ng bulok na sistema,

at mabuhay sa desisyong ginusto ng iba.

Sa tinagaltagal ng 'yong pagsusumikap,

tila ang liwanag ay mas nagiging mailap

marami nang tumalikod upang mangarap

ng buhay na di mo dito mahanap-hanap

Nais mo lang namang tumindig at manindigan

sa prinsipyong matagal mong pinanghawakan,

na hindi mo naman kailangang pang lumisan

upang marangyang buhay ay iyong maranasan.

Bagong bayani ang tawag sa kanila

dahil sa pag-asang kanilang dala-dala.

'Di na kailangan pang mabaril sa Luneta,

upang sakripisyo'y mabigyang pagkilala.

At ikaw naman itong nagpapakatanga,

kumakapit sa paniniwalang iyong nilikha

na balang araw ay sasalubong ang umaga,

umaasang sa dulo ay tama ka naman pala.

(inspired by elbi blackout during the height of #TyphoonKristine |📸 r. placino)

[kneehoming-knee]

OH I'M SORRY DID I ID YOUR "DAGON" PARRY GOD GOATEE GOATED GONG BONG BONG MONG BULLY MONG "BONER FARTS" HOW DID UOU KNOW_ "BLOW" BLOW™