Cultura de Yangshao - origenes de china

Recipiente cerámico decorado de la cultura de Yangshao.

La cultura de Yangshao fue una cultura neolítica que se extendía a lo largo del curso central del río Amarillo en China. En chino se llama 仰韶文化, en pinyin se escribe Yǎngsháo wénhuà.
La cultura está datada del 5000 a. C. al 3000 a. C. El nombre proviene del primer yacimiento arqueológico representativo, que se descubrió en 1921 en Yangshao, un pueblo de la provincia de Henan. La cultura floreció principalmente en las provincias de Henan, Shaanxi y Shanxi.¹
De acuerdo con diversos lingüístas la cultura de Yangshao pudo ser el origen de los pueblos que dieron origen a la familia lingüística sinotibetanos.²

Índice

• 1 Características
• 2 Fases
• 3 Galería
• 4 Véase también
• 5 Enlaces externos
• 6 Referencias
  • 6.1 Bibliografía

Características

Extensión aproxiamada de la cultura de Yangshao.

Distribución de las lenguas sinotibetanas, cuyo origen podría estar en la cultura de Yangshao.

Las gentes de Yangshao cultivaban mijo de manera extensiva. En algunos poblados se cultivaba trigo o arroz. Domesticaron animales como el perro y el cerdo, además de ovejas, cabras y vacas, aunque la mayoría del consumo cárnico provenía de la caza y la pesca. También practicaban un tipo primitivo de sericultura.
Sus utensilios de piedra estaban pulimentados y muestran una gran especialización. Esta cultura es conocida por su cerámica pintada. Los artesanos elaboraban una cerámica pintada en blanco, rojo y negro, con dibujos de animales o rostros humanos, o diseños geométricos. A diferencia de la posterior cultura de Longshan, la cultura de Yangshao no conocía el torno de alfarero.
Los cementerios se encontraban siempre en el exterior de una amplia zanja, aunque hay dudas si era meramente defensiva o simbólica, que separaba ambos mundos, el de los muertos y los seres vivos. Las excavaciones han mostrado que los niños eran enterrados en jarrones de cerámica pintada.
El yacimiento arqueológico de la localidad de Banpo, cerca de Xian, es uno de los yacimientos mejor conocidos de esta cultura. Se encontraron casas muy grandes, rodeadas por otras más pequeñas, lo que puede indicar el uso comunal o bien la diferenciación de estatus entre los pobladores. En las viviendas, se puede reconocer hogares para cocinar y/o calentarse, y unas plataformas que pueden ser para dormir.³

Fases

Entre las numerosas fases yuxtapuestas de la cultura Yangshao, las más importantes (categorizadas de acuerdo a las diferencias en su alfarería) son:

• fase Banpo, 4800 a 4200 a. C., planicie central
• fase Miaodigou, 4000 a 3000 a. C., sucesora de la fase Banpo
• fase Majiayao, 3300 a 2000 a. C., en Gansu (Qinghai)
• fase Banshan, 2700 a 2300 a. C., sucesora de la fase Majiayao
• fase Machang, 2400 a 2000 a. C.

Galería

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el te en china - una cultura antigua

There’s an old saying in China about the seven necessities for starting one’s day: “kāi mén qī jiàn shì, chái mǐ yóu yán jiàng cù chá (开门七件事, 柴米油盐酱醋茶)". For the record that’s firewood, rice, oil, salt, sauce (usually soy), vinegar and, of course, tea.

Tea, "chá (茶)", holds a special and unique place in Chinese culture, which is definitely saying something when your culture is 4,000+ years old and claims over a billion and a half adherents.

So today we’re going to take a look at tea culture in China, delve into the history a bit, and try to answer the all-important question: Why do the Chinese love tea so freakin much?

Folklore

It all starts with a possibly-anachronistic story about this guy "shén nóng (神农)", the “divine farmer,” of ancient Chinese myth.

"Shén nóng (神农)" was one of the "sān huáng (三皇)", or “Three Sovereigns,” basically the founding fathers of Chinese culture. Believed to live some 4500 years ago, "shén nóng (神农)" is credited with inventing tea.

One day, a wild leaf happened to fall into the water he was boiling while traveling with his army. He figured, hey, why not give it a shot. Supposedly, the new elixir helped him feel energized and refreshed, giving birth to tea as we know it.

History and Usage

The first verifiable usage of tea was in the Zhou dynasty, probably around 1000 BCE, and ever since then tea has been a fixture of Chinese life.

More than that, though, tea has an outsized importance in Chinese culture that can be tough to grasp until you’ve been in the midst of it.

I like to compare it (roughly) to the way Americans feel about dinner in general: Think Ted Mosby asking every girl, “Have dinner with me on Saturday,” how family dinners are such a central part of a household’s life, or how business deals are often hammered out over dinner.

In China, tea and having tea with people tend to serve the same purpose. You’ll often hear “let’s meet for tea” as an invitation to meet up with someone, or see grandmas congregated around mahjong tables sipping from the same thermos of tea all day.

Sometimes it’s even a bit nefarious. You may have read a bit about the infamous police invitation to “have tea,” euphemistic shorthand for a mandatory visit to a police station for someone accused of wrongdoing, usually a political dissident or an agitating journalist.

If you’ve been to China you’ve most likely heard about the “teahouse scam,” in which unsuspecting tourists are lured into a supposedly authentic tea ceremony only to be stuck with an exorbitant bill.

When a beverage is a euphemism and a means of ripping people off, you know it’s important!

Tea is also one of the most prominent small gifts you see given here in China, especially as something picked up during a vacation.

Much as Westerners might buy a keychain, a fridge magnet or some local snack to give to friends, Chinese travelers love to buy "tè chǎn (特产)", or distinctive local products, and tea is usually number one on the list, as different regions in China have a wide variety of different leaf and flavor types.

So why is it that tea is so popular?

My analysis is that it’s perhaps the most distinctively Chinese product in history, having been invented and perfected in China. It even comes complete with it’s own super old Three Sovereigns-era backstory (see above), so it’s not surprising that many Chinese people take pride in the tea their country produced.

Not to mention, it’s one of China’s most famous exports, and has become a central part of culture in tons of places worldwide, notably the UK.

Tea also fueled an incredibly significant trade movement in the 18th and 19th centuries that helped introduce China to the wider Western world, no small feat.

Let’s also not forget that tea, with its organic origins and plentiful antioxidants, has taken off in popularity in the US over the last few years.

Chinese people tend to be really proud of the older elements of their culture that are still alive today, and there’s nothing that exemplifies that more than tea. Just look at the absurd prices premium tea is going for these days.

Present Day – Tea vs. Coffee

Interestingly enough, though, in some Chinese cities, coffee is beginning to rival tea in popularity as a daily drink, though not in terms of its cultural importance.

Independent coffee shops are ubiquitous in first-tier cities (I’m writing this in one right now!), and last year Starbucks opened 500 new stores in East Asia, mostly in 2nd and 3rd-tier Chinese cities.

Coffee consumption is growing at a rate of 15% per year in Mainland China, and while it won’t be usurping tea anytime soon, down in Yunnan province many tea farmers are opting to grow coffee instead, which thrives in the area’s mild, humid climate.

“More and more young professionals are choosing to start the day with a cup or two at home," says a Nestle executive, and I can definitely support that with anecdotal evidence.

Anyway, I’d love to hear your stories or thoughts on Chinese tea and its cultural importance! Let me know in the comments below.

MICHAEL HURWITZ is a five-year resident of Shanghai who does the little things to help bridge the cultural and linguistic gap between China and the West. Michael enjoys reggae music, his hometown basketball team the Washington Wizards, and has a handful of tattoos he'd rather not explain.

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Los Diez Dibujos del Arreo del Buey - PROGRESO ESPIRITUAL

Conferencia impartida por el maestro Sheng Yen el 22 de octubre de 1992.
(Para mayor información sobre este tema, véase el libro Ox Herding at Morgan's Bay escrito por el maestro Sheng Yen.) Ilustraciones por Nora Ling-yun Shih.

Los Diez Dibujos del Arreo del Buey son metáforas para el proceso y el progreso de la práctica Chan. Cuando China era una sociedad agrícola, las personas dependían de los bueyes y búfalos para trabajar en sus campos. Estos animales eran importantes, poderosos y parte de la vida humana, de manera que la analogía del arreo del buey significaba mucho para los budistas de ese tiempo.
Una antigua referencia sobre el arreo del buey como una metáfora para la práctica puede encontrarse en un relato de la Dinastía Tang (618-906). Un monje estaba trabajando en la cocina del monasterio cuando entró su maestro y le preguntó qué estaba haciendo. Él contestó: “No mucho, sólo arreando el buey.”
El maestro preguntó: “¿Cómo lo estás arreando?”
El monje contestó: “Cada vez que el buey vaguea para comer hierba cuando debería estar trabajando, lo sofreno para que vuelva a trabajar.”
Este relato se convirtió en un Kung-an en el que el buey representa a la mente, la que el pastor debe entrenar. En la práctica Chan, el énfasis radica en la práctica mental, no física. Si la mente no es pura, no puede haber pureza del cuerpo y del habla.
En el Sutra del Loto, el buey blanco es una metáfora para la trascendencia del ciclo de nacimiento y muerte, o samsara. Cualquiera que vea el buey blanco ve el gran vehículo (del Budismo Mahayana) que puede llevar a la Budeidad.

Muchas versiones de los dibujos del arreo del buey fueron creadas durante la Dinastía Sung (960-1279). Fueron acompañadas con poesía. La más famosa es atribuida a K'uo-an Shih-yuan, un maestro Chan del siglo XII de la escuela Lin-chi. Todas las versiones ilustran el proceso y niveles de la práctica Chan, así como el reconocimiento de la naturaleza de Buda, nuestra naturaleza original.

¿Crees que tienes este buey, esta naturaleza de Buda, dentro de ti mismo? Si no tienes fe en la existencia de la naturaleza de Buda, o en la posibilidad de experimentar tu “yo” intrínseco, entonces el arreo del buey carece de importancia. Si no hay buey para arrear, no puede haber arreo del buey, no hay progresión. Esto es verdad para las personas que no tienen interés en descubrir su naturaleza intrínseca, así como para aquellos que una vez sujetaban al buey y después lo dejaron ir.

El primer dibujo es “Buscar el Buey.” Este muestra a un practicante principiante que ha escuchado las enseñanzas del Buda y cree que cada uno de nosotros tenemos la naturaleza de Buda y la capacidad de alcanzar la liberación. Sin embargo, no tiene experiencia personal de la naturaleza de Buda y debe emplear los métodos de práctica, tales como meditación y postración, para descubrir el “yo” original.

El practicante descubre las huellas del buey en el segundo dibujo. Su mente ha empezado a calmarse y ha comprendido algo, pero ve que no es fácil el encontrar el buey. Buscar la naturaleza de Buda es como buscar una montaña a través de una espesa capa de nubes. Otros dicen que está allí, pero no estás seguro de lo que ves. ¿Es una nube o una montaña? El practicante principiante solamente ha visto las huellas. ¿Pertenecen al buey? En este momento estás atraído por la práctica, y ésta te impulsa a buscar. La práctica aumenta tu fe. Esto es el ver las huellas del buey.

En el tercer dibujo el practicante ve la cola del buey. Anteriormente, la visión de las huellas le dio la confianza para practicar diligentemente y ahora de repente ve un animal. Esto es también descrito como la visión del rostro de la mente pura, o la desaparición temporal del egocentrismo. Este dibujo es a veces descrito como la visión de nuestra naturaleza intrínseca, pero sólo es una visión fugaz de algo – sólo la cola del buey.

El practicante atrapa al buey y trata de controlarlo con una cuerda en “Obteniendo el Buey Completo”, el cuarto dibujo. Él percibe su propia naturaleza de Buda, pero aún experimenta aflicciones causadas por codicia, enfado, aversión y resentimiento. La mente produce innumerables aflicciones en respuesta a lo que está a su alrededor. Viendo su naturaleza intrínseca, el practicante es cuidadoso en no producir aflicciones y sabe que el ambiente no tiene una existencia real y permanente. Aún, experimenta aflicciones y debe usar los métodos y puntos de vista apropiados, tales como la meditación y la comprensión de causas y condiciones, para tratar estos problemas. Los métodos y puntos de vista del Chan componen la cuerda para controlar el buey.

El quinto dibujo es simplemente llamado “Arreo del Buey.” Ahora un sabio, el practicante conduce fácilmente al buey por medio de la cuerda. Él ha progresado hasta alcanzar algún lugar entre la undécima y la cuadragésima etapa del estado de Bodhisattva Mahayana. Aunque tiene pocas aflicciones, continúa practicando diligentemente y haciendo votos. La dirección del arreo del buey ahora es clara.

"Montando el buey a casa,” el sexto dibujo, muestra un buey bien entrenado y obediente, familiarizado con el camino. El pastor monta sin ningún esfuerzo en su espalda, tocando la flauta. Esta es la posición del primer Bhumi, o la cuadragésimo primera etapa del estado de Bodhisattva. El practicante ya no necesita esfuerzo consciente para continuar practicando y haciendo votos. El buey simplemente continúa avanzando hacia adelante en el camino. Las acciones del practicante son las apropiadas para cada situación.

El séptimo dibujo es “Olvidar al Buey.” El buey ha desaparecido. Solamente queda el practicante. Este punto está entre las etapas del primer y el octavo Bhumi, y entre la cuadragésimo primera y la cuadragésimo séptima etapa del camino del Bodhisattva. El practicante no ejerce esfuerzo, y práctica espontáneamente, sin preocuparse por objetivos o propósito. El cultivo de sí mismo se detiene. La práctica principiante es como nadar río arriba. Se necesita gran esfuerzo. Después el nadador está totalmente unido con el agua. ¿Aún hay natación?

Tanto el buey y el pastor del buey han desaparecido en el octavo dibujo. Solamente queda un círculo, el marco del dibujo. El séptimo dibujo elimina el buey, que representa al mundo, el objeto. Finalmente, el sujeto, igualmente, desaparece en el octavo dibujo. Nada se queda. No hay objetivo ni practicante.

El noveno dibujo, “Volver al Origen,” muestra una montaña y un río. Un practicante novicio ve las montañas y los ríos, pero no los reconoce como tales. Ahora, el experto ve las montañas como montañas, los ríos como ríos. Ha regresado al mundo. Todo existe excepto sus apegos. Ya no hay práctica o no práctica, sabiduría o aflicción. Todo es completo, todo el mundo es Buda y el medio ambiente es la tierra de Buda.

Tradicionalmente, vemos a un mendigo y a un monje harapiento y barrigudo en el décimo dibujo. El mendigo representa el sufrimiento, el monje a un practicante que ha completado su práctica. Ha salido del aislamiento de la montaña y ha regresado al mundo para ayudar a todos los seres. Él no tiene aflicciones, pero, puesto que otros sufren, ofrece espontáneamente ayuda a todos los seres necesitados en el camino.
He hablado de cada uno de los dibujos del arreo del buey, pero hay un punto importante para añadirse. A veces las personas adoptan un punto de vista egoísta de estos dibujos, porque sugieren que practiquemos hasta alcanzar la Budeidad antes de que podamos empezar a ayudar a los seres sensibles. Esto no es el camino del Budismo o Chan. Tan pronto como las enseñanzas de Buda empiezan a beneficiarte en tu vida, debes comenzar a ayudar a los seres sensibles. Incluso en la primera etapa del arreo del buey, deberías ayudar a los demás. No solamente esperar hasta la Budeidad.

Pregunta: ¿Esta es la iluminación gradual o repentina?

Shih-fu: Pasar por estas etapas por orden no es considerado como iluminación repentina. Es mejor llamada iluminación gradual. Las personas que experimentan la iluminación repentina podrían tener alguna de estas experiencias, pero no necesariamente en este orden. El Sexto Patriarca (638-713), quien enseñaba antes de que se hubieran creado los dibujos, nunca hizo referencia a dicha progresión.

Los dibujos son útiles en representar al proceso de la iluminación gradual y son estudiados por practicantes en China y Japón. Con fe, todos nosotros podemos buscar el buey, la naturaleza de Buda, dentro de nosotros mismos.

Step of Yu - tecnica chamanica - daoism

Han Dynasty depiction of Yu.

Yubu, translated as Pace(s) of Yu or Step(s) of Yu, is the basic mystic dance step of religious Daoism.

This ancient walking or dancing technique typically involves dragging one foot after another, and is explained in reference to the legendary Yu the Great, who became lame on one side of his body from exerting himself while establishing order in the world after the Great Flood. Daoist religions, especially during the Six Dynasties period (220-589), incorporated Yubu into rituals, such as the Bugang 步罡 "pace the Big Dipper", in which a Daoist priest would symbolically walk the nine stars of the Beidou 北斗 "Big Dipper" in order to acquire that constellation's supernatural energy.

 Yu The Great

It was under the reign of Emperor Shun that the legendary “Yu The Great” was challenged to subdue the flooding of the Yellow River, a task which – through some combination of magical and technological prowess – he accomplished with great success. He subsequently designed a system of dikes and canals which proved to be of great and lasting benefit to his people. The “Pace of Yu” – the dance-steps which transported him mystically to the stars, where he received guidance from the deities – is practiced even today in certain Taoist traditions.

 

Traditional Luoshu magic square attributed to Yu.

 

Daoism does not name a tradition constituted by a founding thinker, even though the common belief is that a teacher named Laozi founded the school and wrote its major work, called the Daodejing, also sometimes known as the Laozi. The tradition is also called “Lao-Zhuang” philosophy, referring to what are commonly regarded as its two classical and most influential texts: the Daodejing or Laozi (3^rd Cent. BCE) and the Zhuangzi (4^th-3^rd Cent BCE). However, this stream of thought existed in an oral form, passed along by the masters who developed and transmitted it before it came to be written in these texts. There are two major source issues to be considered. 1) What evidence is there for Daoist beliefs and practices prior to the two classical texts? 2) What is the best reconstruction of the classical textual tradition upon which Daoism was based?
With regard to the first question, Isabelle Robinet thinks that the classical texts are only the most lasting evidence of a movement she associates with a set of writings called the Songs of Chu (Chuci), and that she identifies as the Chuci movement. This movement reflects a culture in which male and female masters called fangshi, daoshi, or daoren practiced techniques of longevity and used diet, meditation and generated wisdom teachings. While Robinet’s interpretation is controversial, there are undeniable connections between the Songs of Chu and later Daoist ideas. Some examples include a coincidence of names of immortals (sages), a commitment to the pursuit of physical immortality, a belief in the epistemic value of stillness and quietude, abstinence from grains, breathing and sexual practices used to regulate internal energy (qi), and the use of dances that resemble those still done by Daoist masters (the step of Yu).

 

 

 

 

 

 

 

Chengyu, frases hechas chinas

Historias de Chengyu

Los Chengyu son las frases hechas chinas, que podrían compararse con los refranes españoles. A parte de sus contenidos filosóficos, cada una de ellas oculta un cuento o historia.

 

Diccionario de Chengyu

Índice de historias 1 - 对牛弹琴 «dui niu tan qin» 2 - 开天辟地 «kai tian pi di» 3 - 一日千里 «yi ri qian li» 4 - 一毛不拔 «yi mao bu ba» 5 - 一箭双雕 «yi jian shuang diao» Novedad 对牛弹琴 «dui niu tan qin» Historias de Chengyu chinos Texto en chino con pinyin, anotaciones en español y explicaciones en chino. Práctico Diccionario de Chengyu Chino Español Más de 30 000 Chengyu, caligrafía, pinyin, traducción española, explicaciones chinas, sinónimos, antónimos y ejemplos. Otros textos chinos Canciones chinas

Los Chengyu El idioma chino tiene una larga historia, por eso es uno de los idiomas más ricos, elegantes y variados del mundo. Uno de sus elementos más característicos son las frases hechas, que podrían compararse con los refranes españoles, aunque lógicamente existen unas importantes diferencias que vamos a exponer a continuación. Generalmente se componen de cuatro caracteres chinos, y aunque esto parezca poco, contienen un significado muy concreto a la vez que elevan el nivel del idioma de quien las utiliza. A parte de sus contenidos filosóficos, cada una de ellas oculta un cuento o historia. Estos cuentos están escritos en chino clásico, lo que equivaldría en nuestra cultura al latín, por eso ningún chino que no haya estudiado esa lengua sólo escrita será capaz de entenderlos. La diferencia entre el chino clásico (文言文) y el chino actual (白话) reside en que los textos antiguos son mucho más cortos que los actuales. Como consecuencia, un texto clásico puede tener muchos significados distintos según cómo se interprete, luego serían posibles muchas traducciones al chino actual. Sin duda lo mejor es poder disfrutar el chino clásico, aunque las traducciones que veréis a continuación contienen el contenido en líneas generales. Si queréis ser unos grandes maestros de la lengua china, no olvidéis pues memorizar estos dichos que además serán de una gran ayuda en la vida cotidiana. Página : http://sinohispania.metropoliglobal.com/chengyu/chengyu.htm

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 Hobby / Interest-related “zú”
 
Zhuī xīng zú 追星族 – Literal translation: “Star chasers”
The word “zhuī” (追) can mean “pursue,” “chase,” or “run after,” both literally and figuratively.  
For example, a cat can “zhuī” a mouse and run after it, just as a guy who’s interested in a girl may “zhuī” her, which is a process that usually doesn't require any actual running or chasing (although you never know!).
I learned about this “star chasers” term one time in a Chinese airport. As I was waiting for a friend in the “arrivals” area, a huge group of girls gathered and started jumping and screaming hysterically.
When I asked someone else what was going on, he just shrugged and said, “zhuī xīng zú (追星族)."
Unfortunately, I was never able to catch a glimpse of the celebrity, so I have no idea which famous person was on my friend’s flight that day, but I’ll never forget how to say “groupie” in Chinese.
“Zhuī xīng zú” can be terrifying when acting en masse!
How to recognize them:  Same as groupies all over the world. These dedicated fans (a.k.a. “fěn sī” 粉丝) make it their goal to know everything there is to know about their favorite celebrity, and will do just about anything to get a glimpse or photo of him or her, not to mention an autograph.

Bēi bāo zú 背包族 – Literal translation: “Carry bag on back-ers”
This is another very straightforward example, because the Chinese means just the same thing as the English. The difference is that Chinese “backpackers” are still relatively new to the scene. 
When people from Mainland China started having the means to travel for pleasure, most preferred to travel as a group with a guide, and stick to an itinerary that allowed them to know what to expect each day of their trip. They just found it to be the most relaxing and enjoyable way to travel.
And that’s still true now, a couple of decades later. Most people don’t want to spend their hard-earned money and vacation time trying to navigate unfamiliar terrain on their own.
But there are a growing number of young people who prefer to travel independently, carrying their own stuff on their backs, and trying to get by on as little money as possible.
They forego shopping opportunities and photo ops in front of famous landmarks that Chinese tourists are famous for and instead pursue hikes and adventures on paths less traveled. They turn away from tour buses and guides with megaphones, and instead rely on guidebooks, locals, and their own two feet.
How to recognize them: In stark contrast to the way their parents travel, Chinese backpackers travel the way backpackers around the world do: they stay in hostels, avoid inflexible travel itineraries, and travel independently, expecting to make new friends along the way. And of course, they always carry their stuff in a “bēi bāo.”

Job-related “zú”:
Shàng bān zú上班族 – Literal translation: “go to workers”
This refers to workers in a white-collared, office job. They are paid a salary rather than by the hour, and are generally college graduates.  They are officially part of the rat race, whether they like it or not. 
The “shàng bān zú” is in contrast to the “dǎ gōng zú” (打工族), which are blue-collared workers that are doing various jobs rather than following a career trajectory. “Dǎ gōng zú” are often paid by the hour and come to big cities from poorer parts of the country.
This “shàng bān” idea of working in an office, pursuing a career, and getting paid a salary according to your qualifications and performance is a relatively new concept in China.
Remember, just a few decades ago, most people were working in jobs that were assigned to them by the government, getting paid more or less the same amount as everyone around them, and wearing basically the same type of clothes that everyone else wore.
The “shàng bān zú” and the idea of climbing a corporate ladder is a big indicator of how much Chinese society has changed within a pretty short amount of time.
How to recognize them: They are checking email on their Blackberries on their way into the office, wearing a suit and looking a little stressed. They stay late at work because they can’t leave until their boss leaves. The younger ones are wondering why they were so eager to find a job in the first place.
Yǐ zú 蚁族 – Literal translation: “anties”
Ants are humble little creatures, but they live in strong colonies, know how to get a job done, and are willing to work long and hard. That’s the description applied here for young college graduates who are working their way up from the very bottom of the totem poll. 
The media has placed some attention on the plight of these types of young people lately. It seems like most people feel a sense of respect for them.
In a society where spoiled rotten and entitled children of the first generation of rich people in the new China are held in utter disdain, “anties” are like the underdogs that everyone is rooting for.
While the “second generation rich” (fù èr dài 富二代) rely on their parents’ money and connections, the “anties” rely on their own intelligence and each other, and aren’t afraid of making sacrifices now in order to pursue their dreams for a better future.
How to recognize them: They rent a tiny apartment in a big city with several other roommates, sleep in bunks, and live off of ramen noodles. They work long hours and don’t get paid much, but they are smart and resourceful, and their future is bright.
So there you have my list of my favorite uses of the suffix “zú.”  Do you see yourself in any of these?  Or do you have any Chinese friends that might fit any of these descriptions?  Let us know in the comments section! 

Zhang Zhongjing

This is a Chinese name; the family name is Zhang.
Zhang Zhongjing
Born 150CE (approx.)
Died 219 (aged 68-69)
Occupation Physician

Zhang Zhongjing
Traditional Chinese 張仲景
Simplified Chinese 张仲景


Zhang Ji
Traditional Chinese 張機
Simplified Chinese 张机

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Zhang Zhongjing

Zhang Zhongjing (张仲景) (150—219), formal name Zhang Ji (张机), was a Han Dynasty physician and one of the most eminent Chinese physicians during the later years of the Han Dynasty. He established medication principles and summed up the medicinal experience up until that time, thus making a great contribution to the development of Traditional Chinese Medicine.
Biography

Though extremely well known in modern Chinese medicine and considered one of the finest Chinese physicians in history, very little is known about his life.[1] According to later sources, he was born in Nanyang, held an official position in Changsha and lived from approximately 150 to 219 AD.[2] Exact dates regarding his birth, death and works vary, but an upper limit of 220 AD is generally accepted.[3]

During his time, with warlords fighting for their own territories, many people fell victim to infectious diseases. Zhang's family was no exception. He learned medicine by studying from his towns fellow and later teacher Zhang Bozu, assimilating from previous medicinal literature such as Yellow Emperor's Inner Classic Huangdi Neijing (黄帝内经), and collecting many prescriptions elsewhere, finally writing the medical masterpiece Shanghan Zabing Lun (Chinese: 傷寒雜病論; pinyin: Shānghán Zábìng Lùn, lit. "Treatise on Cold Pathogenic and Miscellaneous Diseases"). Shortly after its publication, the book was lost during the wars that ravaged China during the period of the Three Kingdoms. Due to Zhang's contribution to traditional Chinese medicine, he is often regarded as the sage of Chinese medicine.

Zhang's masterpiece, Shanghan Zabing Lun, was collected and organised later by physicians, notably Wang Shuhe (王叔和) from the Jin Dynasty (晋) and various court physicians during the Song Dynasty (宋) into two books, namely for the former, the Shang Han Lun (傷寒論, lit. "On Cold Damage"), which was mainly on a discourse on how to treat epidemic infectious diseases causing fevers prevalent during his era, and the latter, the Jingui Yaolue (金櫃要略, lit. "Essential Prescriptions of the Golden Coffer"), a compendium of various clinical experiences which was regarded as a main discourse on internal diseases. These two texts have been heavily reconstructed several times up to the modern era.[4] Revered for authoring the Shāng Hán Zá Bìng Lùn, Zhang Zhongjing is considered to have founded the Cold Damage or "Cold Disease" school of Chinese medicine and is widely considered the seminal expert to this day.
See also
Hua Tuo
Compendium of Materia Medica
Traditional Chinese medicine
Huangdi
Chinese herbology
Li Shizhen
Song Ci
List of Chinese physicians
List of topics characterized as pseudoscience
References

Shāng Hán Lùn: On Cold Damage, Translation & Commentaries. Craig Mitchell, Féng Yè and Nigel Wiseman 1999, p. 2
Mitchell et al. 1999, p. 2
See Mitchell et al. 1999, pp. 1–2, Early Chinese Texts: A Bibliographical Guide. Michael Loewe (ed.) 1993, p. 197 for discussion.
See Mitchell et al. 1999, pp. 1–4.

Bian Que, también conocido como el doctor milagro.

Stone carving from the Eastern Han Dynasty, showing the divine healer Bian Que, depicted as a bird with a human head, treating sick people using acupuncture.
Traditional Chinese	扁鵲
Simplified Chinese	扁鹊

Bian Que (Chinese: 扁鹊; pinyin: Biǎn Què) (also pronounced Bian Qiao, Wade–Giles: Pien Ch'iao; died 310 BC) was, according to legend, the earliest known Chinese physician. 

His real name is said to be Qin Yueren (秦越人), but his medical skills were so amazing that the people gave him the same name as the legendary doctor Bian Que, from the time of the Yellow Emperor. He was a native of the State of Qi.


Contents
1 Life and legend
2 See also
3 Further reading
4 References


Life and legend

According to the legend recorded in the Records of the Grand Historian (史记·扁鹊仓公列传), he was gifted with clairvoyance from a deity when he was working as a noble hostel staff. The legend states that while being an attendant at the hostel, he encountered an old man who stayed there for many years. The old man was thankful of Bian Que's attentive service and politeness, and gave him a packet of medicine which he told Bian Que to boil in water. After taking this medicine, he gained the ability to see through the human body. He thereby became an excellent diagnostician with his X-ray-like ability. He also excelled in pulse taking and acupuncture therapy. He is ascribed the authorship of Bian Que Neijing (Internal Classic of Bian Que). Han Dynasty physicians claimed to have studied his works, which have since been lost. Tales state that he was a doctor of many disciplines, conforming to the local needs wherever he went. For example, in one city he was a children's doctor, and in another a female physician.

One famous legend tells of how once when Bian Que was in the State of Cai, he saw the lord of the state at the time and told him that he had a disease, which Bian Que claimed was only in his skin. The lord brushed this aside as at that time he felt no symptoms, and told his attendants that Bian Que was just trying to profit from the fears of others. Bian Que is said to have visited the lord many times thereafter, telling him each time how this sickness was becoming progressively worse, each time spreading into more of his body, from his skin to his blood and to his organs. The last time Bian Que went to see the lord, he looked in from afar, and rushed out of the palace. When an attendant of the lord asked him why he had done this, he replied that the disease was in the marrow and was incurable. The lord was said to have died soon after.

Another legend stated that once, while visiting the state of Guo, he saw people mourning on the streets. Upon inquiring what their grievances were, he got the reply that the heir apparent of the lord had died, and the lord was in mourning. Sensing something afoot, he is said to have gone to the palace to inquire about the circumstances of the death. After hearing of how the prince "died", he concluded that the prince had not really died, but was rather in a coma-like state. He set a single acupuncture needle in the Baihu point on the head, helping the prince to regain consciousness. Herbal medicine was boiled to help the prince sit up, and after Bian Que prescribed the prince with more herbal medicine, the prince healed fully within twenty days.

Bian Que advocated the four-step diagnoses of "Looking (at their tongues and their outside appearances), Listening (to their voice and breathing patterns), Inquiring (about their symptoms), and Taking (their pulse)."

The Daoist Liezi has a legend (tr. Giles 1912:81-83) that Bian Que used anesthesia to perform a double heart transplantation, with the xin 心 "heart; mind" as the seat of consciousness. Gong Hu 公扈 from Lu and Qi Ying 齊嬰 from Zhao had opposite imbalances of qi 氣 "breath; life-force" and zhi 志 "will; intention". Gong had a qi "mental power" deficiency while Qi had a zhi "willpower" deficiency.


Bian Que suggests exchanging the hearts of the two to attain balance. Upon hearing his opinion, the patients agree to the procedure. Bian Que then gives the men an intoxicating wine that makes them "feign death" for three days. While they are under the anesthetic effects of this concoction, Bian Que "cut open their breasts, removed their hearts, exchanged and replaced them, and applied a numinous medicine, and when they awoke they were as good as new." Salguero (2009:203)
See also
Hua Tuo, another famous doctor of ancient China
List of Chinese physicians
Further reading
《史记·扁鹊仓公列传》
References
Giles, Lionel. 1912. Taoist Teachings from the Book of Lieh-Tzŭ. Wisdom of the East.
Salguero, C. Pierce. 2009. "The Buddhist medicine king in literary context: reconsidering an early medieval example of Indian influence on Chinese medicine and surgery", History of Religions 48.3:183-210.
Woodford, P: Transplant Timeline. National Review of Medicine 2004 October 30; Volume 1 No. 20.
http://www.itmonline.org/docs/pienchiao.htm
"Divine Doctor--BianQue" (in Chinese).
Según la leyenda registrada en el libro Shiji (Actas del Gran Historiador), hubo un médico excepcional llamado Bian Que que vivió hace dos mil quinientos años, cerca del período en que vivió Confucio (552 a.C. – 479 a.C.). Bian Que estaba dotado de clarividencia y era conocido como el doctor milagro.

Se dice que Bian Que, entonces director de una noble residencia, obtuvo su conocimiento de medicina y su habilidad sobrenatural de parte de un hombre mayor, un cliente habitual que quedó impresionado por su bondad y atento servicio prestado por más de 10 años. Este cliente le dio a Bian Que un paquete de medicinas con instrucciones, muchos libros de medicina preciados y luego desapareció misteriosamente.

Bian Que tomó el medicamento según las instrucciones, y treinta días más tarde fue capaz de ver a través de objetos sólidos. Con el estudio de los libros de medicina, en poco tiempo pudo diagnosticar y tratar las enfermedades de las personas con esta capacidad tipo rayos-X.

Cuando Bian Que atendía a sus pacientes, nunca diferenciaba a los señores influyentes de la gente común. Tenía un conocimiento profundo de una amplia gama de aproximaciones terapéuticas, incluyendo medicina, acupuntura, masaje, intervención quirúrgica y el uso de agentes anestésicos, y siempre seleccionaba el tratamiento más adecuado de acuerdo a las situaciones específicas del paciente.

En cierta ocasión, Bian Que visitó al señor de los estados Qi, y le diagnosticó que su enfermedad era causada por una enfermedad que estaba debajo de su piel, pero su consejo fue ignorado. Posteriormente, vio que la enfermedad se estaba extendiendo progresivamente desde la piel al estómago y luego a la médula ósea, pero el señor se negó a creer en él pensando que Bian Que estaba tratando de sacar provecho de su miedo, de modo que el doctor se fue cuando sabía que la oportunidad de curación definitiva se había ido, y el señor de los estados Qi murió muy pronto.

En las escuelas de medicina tradicional china, el médico siempre trata el alma y el cuerpo de la persona. Además, la ética médica está directamente relacionada con las capacidades sobrenaturales como la clarividencia, y un doctor de medicina china que tiene esta capacidad sobrenatural la puede perder si su ética médica se degenera.

Bian Que vivió una vida humilde y noble, y fue admirado como "una deidad de la medicina".