The Vintage Chinese Teochew and Fukian Opera Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE VINTAGE CHINESE OPERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合，在印度尼西亞，前中國海外集合，他們仍然保持，直到通過，後出這一切集合下一代低谷，因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出，因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄，我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言，也給我更多的信息，並通過修正意見的中國本土languge。

我要thanks SLL評論，校正，translatation更多信息，與老式的中國歌劇信息相關，也People中國的獨立和解放週年的10月，10th.2011共和國的禮炮和榮譽。

雅加達，十月0.2011

伊万suwandy博士，MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understand the art of vintage chinese opera and also the old record disc  cannot played because the instrument of old record player didnot  exist anymore , all music record now in digital disc.

I still keep this old record for historical collections and  I will tried to transfer into digital disc. but  I met the difficulty in translating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thank for all comment,correction,translatation and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1）中國粵劇香港W.泉，1955年（三角）唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司，但不同的微量下面：

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。

2）Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3）歌劇院的中國皇帝明星唱片公司（請幫我翻譯的中國書法）

4）中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1）粵劇記錄 Courtecy哈吉馬騎（由大衛介紹）
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話，許多這些錄音是一邊倒的8000系列，在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡，有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴，班卓琴的聲音，那就是，高胡，三弦聲。

維克托 42126 A1

一個美麗的記錄，具有最終吹中國笛稱為肖，讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片，因為它的非常潦草，但，因為它是我所有的時間最喜歡的勝者記錄和我，因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡，我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩，這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方，並最終用於軍事，婚慶，民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai，等等。

第二次世界大戰後，世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤，在此期間出​​現，其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星（見下文）總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者！環顧四周，我敢肯定你會發現你有沒有聽說過的東西！

我已經發布了來自東方的記錄和不少粵語記錄的東西，但我只是無法抗拒的共享，這一最新的發現。異界！

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子，經過反复的日常生活listenings，所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注，將在七月一個驚喜 … …

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄，我已經張貼改變 … …聽 Beka，哥倫比亞龍，興登堡等

淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

潮州開 ODEON
 

據 WordPress博客統計，最常見的的搜索字詞這個博客，帶給人們的是“潮州戲”。因此，這裡有另一種為潮州球迷之一。

一個常見的抱怨是，所有潮州歌劇院的聲音相同的（有一些道理的話），但這個紀錄肯定脫穎而出 … …我不知道該說什麼，除非這是一個非常不尋常的的探空記錄！

標題是氧化鈦牟生童索（民困雪）。

更新：讀者哈維爾李永恩（！和她的媽媽）告訴我們，這裡的號角聲，是一個（或郝頭）這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說，這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意，這是一種罕見的冠冕堂皇的錄音，但我至少有50潮州78，但沒有一個像這樣的聲音。感謝哈維爾！

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

（注：這條記錄的“G”的方已被摧毀的標籤，所以我filpside標籤）

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2）北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲，我真的很震驚。我已經聽到了很多不同尋常的音樂，但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了，不得不考慮這東西 … …

我很快就了解到，中國戲曲有兩種主要類型，而且我在這裡談論的78轉時代，北平歌劇院（又名北京或北京）和粵劇。北平歌劇是多一點“古典”，而廣式多一點“民間”。這是很好的，要記住，在中國戲曲音樂的歷史，這是或多或少，他們的戲劇，民俗，音樂於一身，是一項長期而複雜的故事，回去數百年。我絕對沒有資格作出任何明確的陳述，哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇，這是什麼標記，通常這個紀錄是由一個喜歡小提琴，二胡或京胡的儀器，它的變化之一，和少數其他弦樂器。一般的雜音是提供一個節奏，鑼，鈸，木板等組成部分。唱的是居高不下的聲音，往往由男性表演了一個女人的作用（青衣江），並使用特殊發音的程式化的，過時的話傳唱，。這種風格往往很多將用於陪肢體動作，如雜技，精心設計的打鬥場面，手勢和一般的姿態舞台上的撞擊效果，要遠遠超過粵語野生。

在這裡，然後，是一個非常典型的例子，這種風格的，我猜從 1920年的。在我看來，百代錄在這種風格的最記錄，而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”，梅蘭芳，國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡，他唱了他的著名的巴黃某比亞基的序幕，這意味著皇帝巴黃某告別他的姘婦。 （塞內卡感謝翻譯嚼！）

這是一個著名的皇帝誰是沮喪，在他的手下在戰鬥中的損失的奇怪的故事。她自殺，以表達對她的忠君與著名的複雜的，程式化的劍，他的姘婦進行舞蹈，歌劇高潮！

3）潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂，承擔更多的相似性比其他中國戲曲的形式，特別是京劇（其實，這是在泰國錄得按我們的讀者之一，見進一步信息的評論）東南亞音樂。這個記錄是一個很好的例子，測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應，。在18 20世紀有很多移民從廣東到泰國，馬來西亞，新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近，在那些地方存在。

老虎

4）福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國（愛國）5318a “>>愛國（愛國）5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2，3或4系列的形式發布，以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似，經常有微妙的變化或的關鍵轉變，。這就是與這 2個記錄系列的情況下，這是第三部分。前三兩邊幾乎音樂相同，除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲，我從來沒有聽說過任何其他的中國紀錄！

我不是太肯定富豪的歷史，但它顯然在這個版本的時間，百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來，親愛的讀者，另一個極其晦澀難懂的中國戲曲的劑量。這一次，我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘（又名福建）是一種語言 /方言從中國南方省份福建，鄰國的廣東省，我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人，福建人移居到東南亞的許多地方，與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合，於 2011年10月，我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION，我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你（議員伊万注）

最終版權博士伊万suwandy 2011

 

 The Vintage  Traditional Chinese TEOCHEW AND  FUKIEN Opera Record found from Native Tionghoa Indonesia  Ethnic

Teochew Opera record

TEOCHEW ON PAGODA

 

Pagoda was a great label that was most likely a subsidiary Deutsche-Grammophon along with Polyphon and Hindenburg. Pagoda seems to consist mostly of Teochew Opera from southern China. Unfortunately, I broke the Pagoda record I wanted to post while trying to get it’s too small spindle hole to fit on the turntable…so this is the runner up!

Performed by the Old Choy Bo Fung troupe. (thanks to Patrick Lau for translation.)

PAGODA V 3912a

TEOCHEW OPERA FROM SOUTHERN CHINA

 

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

 

peacock bird

I have just finding the Old Record with  peacock bird mark, but I connaot Identified please native collectors help me to translate.

4)Fujian Amoy Opera Record

Amoy Instrumental

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

SLIDING TONES

 

 

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

AMOY OPERA FROM FUJIAN

 

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

a.His Master Voice record

 

b.people and star record(?)

c, Columbia record

 

 

the end @ copyright Dr Iwan suwandy 2011

THE vINTAGE CHINESE CANTON TRADITIONAL OPERA RECORD

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

 

Showroom :

THE XINTAGE CHINESE OPRERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合，在印度尼西亞，前中國海外集合，他們仍然保持，直到通過，後出這一切集合下一代低谷，因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出，因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄，我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言，也給我更多的信息，並通過修正意見的中國本土languge。

我要thanks SLL評論，校正，translatation更多信息，與老式的中國歌劇信息相關，也People中國的獨立和解放週年的10月，10th.2011共和國的禮炮和榮譽。

雅加達，十月0.2011

伊万suwandy博士，MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understan the art of vintage chine opera and also the old record disc  cannot played because not old instrument of old record played exist anymore becaus e all record now in digital disc.

i still keep this old record for historical collections and  i will tried to transfer into digital disc. but  I met the difficulty in tranlating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thsnkd for sll comment,correction,translatatio and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1）中國粵劇香港W.泉，1955年（三角）唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司，但不同的微量下面：

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。

2）Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3）歌劇院的中國皇帝明星唱片公司（請幫我翻譯的中國書法）

4）中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1）粵劇記錄 Courtecy哈吉馬騎（由大衛介紹）
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話，許多這些錄音是一邊倒的8000系列，在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡，有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴，班卓琴的聲音，那就是，高胡，三弦聲。

維克托 42126 A1

一個美麗的記錄，具有最終吹中國笛稱為肖，讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片，因為它的非常潦草，但，因為它是我所有的時間最喜歡的勝者記錄和我，因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡，我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩，這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方，並最終用於軍事，婚慶，民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai，等等。

第二次世界大戰後，世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤，在此期間出​​現，其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星（見下文）總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者！環顧四周，我敢肯定你會發現你有沒有聽說過的東西！

我已經發布了來自東方的記錄和不少粵語記錄的東西，但我只是無法抗拒的共享，這一最新的發現。異界！

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子，經過反复的日常生活listenings，所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注，將在七月一個驚喜 … …

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄，我已經張貼改變 … …聽 Beka，哥倫比亞龍，興登堡等

淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

潮州開 ODEON
 

據 WordPress博客統計，最常見的的搜索字詞這個博客，帶給人們的是“潮州戲”。因此，這裡有另一種為潮州球迷之一。

一個常見的抱怨是，所有潮州歌劇院的聲音相同的（有一些道理的話），但這個紀錄肯定脫穎而出 … …我不知道該說什麼，除非這是一個非常不尋常的的探空記錄！

標題是氧化鈦牟生童索（民困雪）。

更新：讀者哈維爾李永恩（！和她的媽媽）告訴我們，這裡的號角聲，是一個（或郝頭）這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說，這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意，這是一種罕見的冠冕堂皇的錄音，但我至少有50潮州78，但沒有一個像這樣的聲音。感謝哈維爾！

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

（注：這條記錄的“G”的方已被摧毀的標籤，所以我filpside標籤）

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2）北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲，我真的很震驚。我已經聽到了很多不同尋常的音樂，但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了，不得不考慮這東西 … …

我很快就了解到，中國戲曲有兩種主要類型，而且我在這裡談論的78轉時代，北平歌劇院（又名北京或北京）和粵劇。北平歌劇是多一點“古典”，而廣式多一點“民間”。這是很好的，要記住，在中國戲曲音樂的歷史，這是或多或少，他們的戲劇，民俗，音樂於一身，是一項長期而複雜的故事，回去數百年。我絕對沒有資格作出任何明確的陳述，哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇，這是什麼標記，通常這個紀錄是由一個喜歡小提琴，二胡或京胡的儀器，它的變化之一，和少數其他弦樂器。一般的雜音是提供一個節奏，鑼，鈸，木板等組成部分。唱的是居高不下的聲音，往往由男性表演了一個女人的作用（青衣江），並使用特殊發音的程式化的，過時的話傳唱，。這種風格往往很多將用於陪肢體動作，如雜技，精心設計的打鬥場面，手勢和一般的姿態舞台上的撞擊效果，要遠遠超過粵語野生。

在這裡，然後，是一個非常典型的例子，這種風格的，我猜從 1920年的。在我看來，百代錄在這種風格的最記錄，而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”，梅蘭芳，國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡，他唱了他的著名的巴黃某比亞基的序幕，這意味著皇帝巴黃某告別他的姘婦。 （塞內卡感謝翻譯嚼！）

這是一個著名的皇帝誰是沮喪，在他的手下在戰鬥中的損失的奇怪的故事。她自殺，以表達對她的忠君與著名的複雜的，程式化的劍，他的姘婦進行舞蹈，歌劇高潮！

3）潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂，承擔更多的相似性比其他中國戲曲的形式，特別是京劇（其實，這是在泰國錄得按我們的讀者之一，見進一步信息的評論）東南亞音樂。這個記錄是一個很好的例子，測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應，。在18 20世紀有很多移民從廣東到泰國，馬來西亞，新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近，在那些地方存在。

老虎

4）福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國（愛國）5318a “>>愛國（愛國）5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2，3或4系列的形式發布，以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似，經常有微妙的變化或的關鍵轉變，。這就是與這 2個記錄系列的情況下，這是第三部分。前三兩邊幾乎音樂相同，除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲，我從來沒有聽說過任何其他的中國紀錄！

我不是太肯定富豪的歷史，但它顯然在這個版本的時間，百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來，親愛的讀者，另一個極其晦澀難懂的中國戲曲的劑量。這一次，我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘（又名福建）是一種語言 /方言從中國南方省份福建，鄰國的廣東省，我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人，福建人移居到東南亞的許多地方，與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合，於 2011年10月，我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION，我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你（議員伊万注）

最終版權博士伊万suwandy 2011

 

 

 The Vintage  Traditional Chinese Opera Record found from Native Tionghoa Indonesia  Ethnic

(1)the Chinese Cantonese  Opera of Three kingdom  by Hong W.Quan, 1955(Sam Kok ) record label.

please compare with Haji Madji collections produce by the same inc but different tittle below:

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master.

(2)The Chinese Cantonese Opera Enter The Dragon Opera

compare with haji madji collections from google explorations

ENTER THE DRAGON

 

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

(3)The Opera Of Chinese emperor by Ming Sing Record Label (please help me to translate the chinese calligraphy)

The Chinese Opera Record part Two

“The Canton Opera Record”

(1)the cantonese Opera Pagoda Record

compare with haji Midji collections below

PAGODA V 3912a

 Opera Odeon record

and BEKA Record 

compere with haji Midji collections Opera Polyphone below

(2) The CANTONESE OPERA ON POLYPHON

 

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana TreeChinese Opera record from google Explorations

Cantonese Opera record Courtecy Haji Maji (introduced  by David)

FOUR PURPLE VICTORSThe 42000-43000 Victor series contains some of the most incredible Chinese music ever recorded. Predominately Cantonese, many of these recordings are reissues from the one sided 8000 series which were recorded in New York City and San Francisco as early as 1902. Because these were sold in the United States they are easier to find here, sometimes in great condition as leftover store stock.

This one has the classic Cantonese fiddle-banjo sound, that is, gaohu-sanxian sound.

VICTOR 42126 A1

A beautiful recording featuring the end blown Chinese flute called Xiao, reminiscent of Vietnamese and other Southeast Asian flute music.

VICTOR 42178 B2

Here’s another classic sounding Cantonese recording from the early 20th Century. This is a good example of the typical record from this Victor series.

VICTOR 43246 A3

I had decided not to post this recording because it’s pretty scratchy, but because it’s one of my all time favorite Victor records and I because you must be an intrepid bunch of music lovers to be here in the first place, I figured what the hell. Enjoy.

CANTONESE SUONA INSTRUMENTAL

 

 

I’m always amazed at how cacophonous these Chinese records can be and here’s a perfect example. A  Cantonese instrumental played on the suona. The suona is a type of shawm that originated in Northern China and eventually spread across China for use in military, wedding, folk and opera music. It’s similar to the Turkish zurna and the Indian shennai, among  others.

After World War II, local entrepreneurs around the world started setting up their own record companies. Tsing Ping is one of the many Chinese-owned labels that emerged in this period, many of which were based in Chinese immigrant communities throughout Southeast Asia. Tsing Ping and Num Sing (see below) were based in San Francisco.

TSING PING 33

MORE ORIENTALWelcome to any visitors from Excavated Shellac! Have a look around, I’m sure you’ll find something you haven’t heard before!

I’ve already posted something from Oriental Records and quite a few Cantonese records, but I just couldn’t resist sharing this recent find. Otherworldly!

Num Sing

 

the hardcore Haji Maji listeners have probably worn out all my previous postings through repeated daily listenings, so today I will be posting THREE different records from some small independent labels of the 1940′s and 50′s. Stay tuned, there will be a few surprises in July…

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master. Thanks to Patrick for adding these details via the comments section.

GOLDEN STAR

 

 

Here’s another one I’ve never seen before….Golden Star Records from Hong Kong. This Cantonese record is most likely from the 1940′s or early 1950′s. It’s interesting to compare the way the Cantonese musical style has changed from the earlier records I’ve posted…listen to the Beka, Columbia dragon, Hindenburg, etc.

Amoy Instrumental

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

 

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

(note: The “G” side of this record had a destroyed label, so I’m showing the filpside label)

CANTONESE OPERA ON POLYPHON

 

 

 

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana Tree

 

THE END @COPYRIGHT dR iWAN SUWANDY 2011

The Vintage Chinese Peiping_Beijing Opera Record

 

 

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE VINTAGE CHINESE OPERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合，在印度尼西亞，前中國海外集合，他們仍然保持，直到通過，後出這一切集合下一代低谷，因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出，因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄，我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言，也給我更多的信息，並通過修正意見的中國本土languge。

我要thanks SLL評論，校正，translatation更多信息，與老式的中國歌劇信息相關，也People中國的獨立和解放週年的10月，10th.2011共和國的禮炮和榮譽。

雅加達，十月0.2011

伊万suwandy博士，MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understan the art of vintage chine opera and also the old record disc  cannot played because not old instrument of old record played exist anymore because all record now in digital disc.

i still keep this old record for historical collections and  i will tried to transfer into digital disc. but  I met the difficulty in tranlating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thsnkd for sll comment,correction,translatatio and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1）中國粵劇香港W.泉，1955年（三角）唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司，但不同的微量下面：

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。

2）Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3）歌劇院的中國皇帝明星唱片公司（請幫我翻譯的中國書法）

4）中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1）粵劇記錄 Courtecy哈吉馬騎（由大衛介紹）
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話，許多這些錄音是一邊倒的8000系列，在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡，有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴，班卓琴的聲音，那就是，高胡，三弦聲。

維克托 42126 A1

一個美麗的記錄，具有最終吹中國笛稱為肖，讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片，因為它的非常潦草，但，因為它是我所有的時間最喜歡的勝者記錄和我，因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡，我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩，這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方，並最終用於軍事，婚慶，民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai，等等。

第二次世界大戰後，世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤，在此期間出​​現，其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星（見下文）總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者！環顧四周，我敢肯定你會發現你有沒有聽說過的東西！

我已經發布了來自東方的記錄和不少粵語記錄的東西，但我只是無法抗拒的共享，這一最新的發現。異界！

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子，經過反复的日常生活listenings，所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注，將在七月一個驚喜 … …

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄，我已經張貼改變 … …聽 Beka，哥倫比亞龍，興登堡等

淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

潮州開 ODEON
 

據 WordPress博客統計，最常見的的搜索字詞這個博客，帶給人們的是“潮州戲”。因此，這裡有另一種為潮州球迷之一。

一個常見的抱怨是，所有潮州歌劇院的聲音相同的（有一些道理的話），但這個紀錄肯定脫穎而出 … …我不知道該說什麼，除非這是一個非常不尋常的的探空記錄！

標題是氧化鈦牟生童索（民困雪）。

更新：讀者哈維爾李永恩（！和她的媽媽）告訴我們，這裡的號角聲，是一個（或郝頭）這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說，這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意，這是一種罕見的冠冕堂皇的錄音，但我至少有50潮州78，但沒有一個像這樣的聲音。感謝哈維爾！

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

（注：這條記錄的“G”的方已被摧毀的標籤，所以我filpside標籤）

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2）北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲，我真的很震驚。我已經聽到了很多不同尋常的音樂，但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了，不得不考慮這東西 … …

我很快就了解到，中國戲曲有兩種主要類型，而且我在這裡談論的78轉時代，北平歌劇院（又名北京或北京）和粵劇。北平歌劇是多一點“古典”，而廣式多一點“民間”。這是很好的，要記住，在中國戲曲音樂的歷史，這是或多或少，他們的戲劇，民俗，音樂於一身，是一項長期而複雜的故事，回去數百年。我絕對沒有資格作出任何明確的陳述，哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇，這是什麼標記，通常這個紀錄是由一個喜歡小提琴，二胡或京胡的儀器，它的變化之一，和少數其他弦樂器。一般的雜音是提供一個節奏，鑼，鈸，木板等組成部分。唱的是居高不下的聲音，往往由男性表演了一個女人的作用（青衣江），並使用特殊發音的程式化的，過時的話傳唱，。這種風格往往很多將用於陪肢體動作，如雜技，精心設計的打鬥場面，手勢和一般的姿態舞台上的撞擊效果，要遠遠超過粵語野生。

在這裡，然後，是一個非常典型的例子，這種風格的，我猜從 1920年的。在我看來，百代錄在這種風格的最記錄，而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”，梅蘭芳，國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡，他唱了他的著名的巴黃某比亞基的序幕，這意味著皇帝巴黃某告別他的姘婦。 （塞內卡感謝翻譯嚼！）

這是一個著名的皇帝誰是沮喪，在他的手下在戰鬥中的損失的奇怪的故事。她自殺，以表達對她的忠君與著名的複雜的，程式化的劍，他的姘婦進行舞蹈，歌劇高潮！

3）潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂，承擔更多的相似性比其他中國戲曲的形式，特別是京劇（其實，這是在泰國錄得按我們的讀者之一，見進一步信息的評論）東南亞音樂。這個記錄是一個很好的例子，測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應，。在18 20世紀有很多移民從廣東到泰國，馬來西亞，新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近，在那些地方存在。

老虎

4）福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國（愛國）5318a “>>愛國（愛國）5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2，3或4系列的形式發布，以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似，經常有微妙的變化或的關鍵轉變，。這就是與這 2個記錄系列的情況下，這是第三部分。前三兩邊幾乎音樂相同，除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲，我從來沒有聽說過任何其他的中國紀錄！

我不是太肯定富豪的歷史，但它顯然在這個版本的時間，百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來，親愛的讀者，另一個極其晦澀難懂的中國戲曲的劑量。這一次，我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘（又名福建）是一種語言 /方言從中國南方省份福建，鄰國的廣東省，我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人，福建人移居到東南亞的許多地方，與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合，於 2011年10月，我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION，我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你（議員伊万注）

最終版權博士伊万suwandy 2011

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1）中國粵劇香港W.泉，1955年（三角）唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司，但不同的微量下面：

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。

2）Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3）歌劇院的中國皇帝明星唱片公司（請幫我翻譯的中國書法）

4）中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1）粵劇記錄 Courtecy哈吉馬騎（由大衛介紹）
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話，許多這些錄音是一邊倒的8000系列，在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡，有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴，班卓琴的聲音，那就是，高胡，三弦聲。

維克托 42126 A1

一個美麗的記錄，具有最終吹中國笛稱為肖，讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片，因為它的非常潦草，但，因為它是我所有的時間最喜歡的勝者記錄和我，因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡，我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩，這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方，並最終用於軍事，婚慶，民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai，等等。

第二次世界大戰後，世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤，在此期間出​​現，其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星（見下文）總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者！環顧四周，我敢肯定你會發現你有沒有聽說過的東西！

我已經發布了來自東方的記錄和不少粵語記錄的東西，但我只是無法抗拒的共享，這一最新的發現。異界！

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子，經過反复的日常生活listenings，所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注，將在七月一個驚喜 … …

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄，我已經張貼改變 … …聽 Beka，哥倫比亞龍，興登堡等

淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

潮州開 ODEON
 

據 WordPress博客統計，最常見的的搜索字詞這個博客，帶給人們的是“潮州戲”。因此，這裡有另一種為潮州球迷之一。

一個常見的抱怨是，所有潮州歌劇院的聲音相同的（有一些道理的話），但這個紀錄肯定脫穎而出 … …我不知道該說什麼，除非這是一個非常不尋常的的探空記錄！

標題是氧化鈦牟生童索（民困雪）。

更新：讀者哈維爾李永恩（！和她的媽媽）告訴我們，這裡的號角聲，是一個（或郝頭）這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說，這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意，這是一種罕見的冠冕堂皇的錄音，但我至少有50潮州78，但沒有一個像這樣的聲音。感謝哈維爾！

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

（注：這條記錄的“G”的方已被摧毀的標籤，所以我filpside標籤）

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2）北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲，我真的很震驚。我已經聽到了很多不同尋常的音樂，但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了，不得不考慮這東西 … …

我很快就了解到，中國戲曲有兩種主要類型，而且我在這裡談論的78轉時代，北平歌劇院（又名北京或北京）和粵劇。北平歌劇是多一點“古典”，而廣式多一點“民間”。這是很好的，要記住，在中國戲曲音樂的歷史，這是或多或少，他們的戲劇，民俗，音樂於一身，是一項長期而複雜的故事，回去數百年。我絕對沒有資格作出任何明確的陳述，哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇，這是什麼標記，通常這個紀錄是由一個喜歡小提琴，二胡或京胡的儀器，它的變化之一，和少數其他弦樂器。一般的雜音是提供一個節奏，鑼，鈸，木板等組成部分。唱的是居高不下的聲音，往往由男性表演了一個女人的作用（青衣江），並使用特殊發音的程式化的，過時的話傳唱，。這種風格往往很多將用於陪肢體動作，如雜技，精心設計的打鬥場面，手勢和一般的姿態舞台上的撞擊效果，要遠遠超過粵語野生。

在這裡，然後，是一個非常典型的例子，這種風格的，我猜從 1920年的。在我看來，百代錄在這種風格的最記錄，而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”，梅蘭芳，國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡，他唱了他的著名的巴黃某比亞基的序幕，這意味著皇帝巴黃某告別他的姘婦。 （塞內卡感謝翻譯嚼！）

這是一個著名的皇帝誰是沮喪，在他的手下在戰鬥中的損失的奇怪的故事。她自殺，以表達對她的忠君與著名的複雜的，程式化的劍，他的姘婦進行舞蹈，歌劇高潮！

3）潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂，承擔更多的相似性比其他中國戲曲的形式，特別是京劇（其實，這是在泰國錄得按我們的讀者之一，見進一步信息的評論）東南亞音樂。這個記錄是一個很好的例子，測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應，。在18 20世紀有很多移民從廣東到泰國，馬來西亞，新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近，在那些地方存在。

老虎

4）福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

Ai-Guo (Patriotic) 5318a” Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國（愛國）5318a ” closure_uid_7oyu0g=”253″>>愛國（愛國）5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2，3或4系列的形式發布，以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似，經常有微妙的變化或的關鍵轉變，。這就是與這 2個記錄系列的情況下，這是第三部分。前三兩邊幾乎音樂相同，除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲，我從來沒有聽說過任何其他的中國紀錄！

我不是太肯定富豪的歷史，但它顯然在這個版本的時間，百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來，親愛的讀者，另一個極其晦澀難懂的中國戲曲的劑量。這一次，我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘（又名福建）是一種語言 /方言從中國南方省份福建，鄰國的廣東省，我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人，福建人移居到東南亞的許多地方，與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合，於 2011年10月，我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION，我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你（議員伊万注）

最終版權博士伊万suwandy 2011

 

 

 

 

The Vintage  Traditional Chinese Opera Record found from Native Tionghoa Indonesia  Ethnic

1) the Chinese Cantonese  Opera of Three kingdom  by Hong W.Quan, 1955(Sam Kok ) record label.

please compare with Haji Madji collections produce by the same inc but different tittle below:

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master.

2)Chinese Cantonese Opera Enter The Dragon Opera

compare with haji madji collections from google explorations

ENTER THE DRAGON

 

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

3)The Opera Of Chinese emperor by Ming Sing Record Label (please help me to translate the chinese calligraphy)

 

The Vintage Chinese Opera record Part One

“The Peiping_Beijing Opera Record”

Peiping Opera record

A CLASSIC PEIPING DRAMA

 

 

 

The first time I heard Chinese Opera I was really shocked. I’ve listened to a lot of unusual music, but nothing seemed further from the western concept of music. I knew I was hooked immediately and had to look into this stuff…

I soon learned that there are two main types of Chinese Opera, and I’m talking about the 78 rpm era here, Peiping Opera (aka Peking or Beijing) and Cantonese Opera. Peiping Opera is a bit more “classical” while Cantonese style is a bit more “folk”. It’s good to keep in mind that the history of opera music in China, which was more or less their theater, folklore, and music all rolled into one, is a long and complicated story going back hundreds of years. I’m definitely not qualified to make any definitive statements about which style is older or the tangled webwork of influences.

Peiping Drama, which is what this record is labeled as, usually consists of a fiddle-like instrument called Erhu or Jinghu, or one of the variations on it, and a handful of other stringed instruments. The general cacophony is provided by a rhythm section consisting of gongs, cymbals, woodblocks and such. The singing is in an unnaturally high voice, often sung by men performing the role of a woman (qingyi) and using stylized, archaic words with special pronunciation. This style tends to be much more wild than the Cantonese, with a lot of percussive effects that would be used to accompany physical action on stage such as acrobatics, elaborate fight scenes, hand gestures and general posturing.

Here, then, is a pretty typical example of this style, I’m guessing from the 1920′s. It seems to me that Pathe recorded the most records in this style while other labels tended to record more Cantonese.

The singer is the “Opera King”, Mei Lan Fang, the internationally famous male singer known for qingyi roles. See the film Farewell My Concubine for some nice depiction of this.

Here he sings the prelude to his famous Ba Hwang Bia Gei, meaning Emperor Ba Hwang Bids Farewell to his Concubine. (thanks to Seneca Chew for translation!)

This is the strange story of a famous emperor who is despondent over the loss of his men in battle. The opera culminates with a famously complicated, stylized sword dance performed by his concubine as she commits suicide to express her loyalty to the emperor!

Dr Iwan vintage Beijing Opera record Collections,please comment and  add new info ,thank you.please native chinese collectors help me to identified the Baijing Opera music record below:’

a.made in china(Pathe)

unidentified record

 

 

b.made in India :

c.Made In England

 unidentified His Master Voice record

the  Beijing Traditional Opera

silang Visit His Mother

Almost a month ago, Bertrand uploaded a great (and big) video of Silang Visits His Mother, starring Shi Yihong and Li Jun, and since he knows I’m obsessed with Jin Xiquan and Xiong Mingxia (who also appear in this staging), he kindly gave me the privilege to make a post about it.

I usually keep things (that are related to my online presence) in mind, but this time I forgot about this very pleasant “duty”of mine.

The story of Yang Yanhui, or Yang Silang (lit. “fourth son”) is one of the most popular Beijing Operas, featured by exciting story, a variety of characters and earworm arias. A version with Yu Kuizhi and Li Shengsu in the leading role was already posted at operabeijing.com, and Bertrand’s friend Zach provided a straightforward description of the whole story.

There are only a few things I would like to add as curiosity.

Zach mentions Yang Yanhui changed his name to Muyi upon captured, to conceal his true identity. However, his new alias also hints at his family relations. The two characters that make the traditional compound for surname Yang (楊) are mu (木) and yi (易). Very clever, isn’t it? How tricky our Silang is.

The version posted earlier omitted one character from the play: Mrs. Silang. Yang Yanhui already had a wife at home who remained loyal to him for fifteen years, and now, after Silang’s short visit, they have to bid farewell again. I definitely don’t envy this character.

The most famous act of this play is undoubtedly Zuo Gong (Sitting in the Palace). Bertrand already posted a video with Yu Kuizhi and Li Shengsu singing the most appealing snippet from the famous duet of Yang Yanhui and Princess Tiejing, but you can never have enough Zuo Gong in your Beijing Opera blog.

In the following clip, the above mentioned duo is singing the same excerpt, just wearing stage costume. It’s a 2009 recording, and Yu Kuizhi seems unusually rested and well-fed this time. I added English subtitles to it with Aegisub, to ease my conscience. Believe me, stereo Yu is fun.

the Zuo Gong duet

And now to the main performance! You will meet many familiar faces, most of them already have a category, so don’t hesitate and click those links.

Hu Xuan, the young “old lady” of Shanghai Jingju Troupe was featured recently in a complete opera here, playing the role of a poor but noble spirited elderly woman. Now we can see her again as the mother of Yang Silang. I think she deserves a category too, what do you think? *pokes Bertrand*

Young Ma school laosheng Mu Yu, playing Yang Zongbao’s father in this play, also appeared here before, both as kid and as young adult. In the latter post you can also spot Zhu Hong (Jingju Theater of Beijing Youth Troupe), starring as Silang’s wife in this performance.

Shi Yihong and Li Jun are two excellent professionals, though not particularly exciting. Possibly I won’t stand alone with the opinion that performers in the supporting roles are a bit more interesting in this production.

《四郎探母·坐宫》Silang Tan Mu (The Fourth Son Visits His Mother)

the end @ copyright Dr Iwan suwandy 2011

THE UNIDENTIFIED VINTAGE CHINA MUSIC RECORD COLLETIONS FOUND IN INDONESIA

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Chinese Export Record label to Indonesia

A.PRE WORLD WAR II

1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)

2.UNIDENTIFIED COLUMBIA RECORD(PLEASE NATIVE COLLECTORS HELP TO TRANSLATE AND  GIVE MORE INFO)

4i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

a.His Master Voice record

 

b.people and star record(?)

c, Columbia record

 

 

B.AFTER WORLD WAR II

(4)unidentified record

compare this illustration with the singer below same or not

(4)Unidentified

(5)Unidentified (comedian?)

(4)Chinese Folk song

After Presiden soekarno change with Presiden Suharto, no diplomatic relationes between Indonesia and Pepole Republic of China until 1988,aal chinese record sencored by the JUdge, and china record forbiddan to keep0,hear and especially the comm8unist cultural revolution record.

After 1988 china record become import again, like the Teresa Teng record below 1n 1992

Taiwan’s Teresa Teng is the most famous Chinese singer, and was popular across East Asia. After making a few records in Taiwan, she became a star in Japan. She sang primarily in Mandarin, Japanese, Cantonese and Taiwanese. She died at age 42, of asthma, in Thailand.

Teresa Teng, “The Soldiers’ Sweetheart”, keeping the Judeo-Commie bastards out of Taiwan

THE END@ COPYRIGHT Dr IWANSUWANDY 2011

THE VINTAGE TRADITIONAL CHINESE OPERA RECORD COLLECTIONS

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE XINTAGE CHINESE OPRERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

 

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合，在印度尼西亞，前中國海外集合，他們仍然保持，直到通過，後出這一切集合下一代低谷，因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出，因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄，我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言，也給我更多的信息，並通過修正意見的中國本土languge。

我要thanks SLL評論，校正，translatation更多信息，與老式的中國歌劇信息相關，也People中國的獨立和解放週年的10月，10th.2011共和國的禮炮和榮譽。

雅加達，十月0.2011

伊万suwandy博士，MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understan the art of vintage chine opera and also the old record disc  cannot played because not old instrument of old record played exist anymore becaus e all record now in digital disc.

i still keep this old record for historical collections and  i will tried to transfer into digital disc. but  I met the difficulty in tranlating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thsnkd for sll comment,correction,translatatio and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1）中國粵劇香港W.泉，1955年（三角）唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司，但不同的微量下面：

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。

2）Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3）歌劇院的中國皇帝明星唱片公司（請幫我翻譯的中國書法）

4）中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1）粵劇記錄 Courtecy哈吉馬騎（由大衛介紹）
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話，許多這些錄音是一邊倒的8000系列，在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡，有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴，班卓琴的聲音，那就是，高胡，三弦聲。

維克托 42126 A1

一個美麗的記錄，具有最終吹中國笛稱為肖，讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片，因為它的非常潦草，但，因為它是我所有的時間最喜歡的勝者記錄和我，因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡，我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩，這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方，並最終用於軍事，婚慶，民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai，等等。

第二次世界大戰後，世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤，在此期間出​​現，其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星（見下文）總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者！環顧四周，我敢肯定你會發現你有沒有聽說過的東西！

我已經發布了來自東方的記錄和不少粵語記錄的東西，但我只是無法抗拒的共享，這一最新的發現。異界！

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子，經過反复的日常生活listenings，所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注，將在七月一個驚喜 … …

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄，我已經張貼改變 … …聽 Beka，哥倫比亞龍，興登堡等

淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

潮州開 ODEON
 

據 WordPress博客統計，最常見的的搜索字詞這個博客，帶給人們的是“潮州戲”。因此，這裡有另一種為潮州球迷之一。

一個常見的抱怨是，所有潮州歌劇院的聲音相同的（有一些道理的話），但這個紀錄肯定脫穎而出 … …我不知道該說什麼，除非這是一個非常不尋常的的探空記錄！

標題是氧化鈦牟生童索（民困雪）。

更新：讀者哈維爾李永恩（！和她的媽媽）告訴我們，這裡的號角聲，是一個（或郝頭）這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說，這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意，這是一種罕見的冠冕堂皇的錄音，但我至少有50潮州78，但沒有一個像這樣的聲音。感謝哈維爾！

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

（注：這條記錄的“G”的方已被摧毀的標籤，所以我filpside標籤）

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2）北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲，我真的很震驚。我已經聽到了很多不同尋常的音樂，但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了，不得不考慮這東西 … …

我很快就了解到，中國戲曲有兩種主要類型，而且我在這裡談論的78轉時代，北平歌劇院（又名北京或北京）和粵劇。北平歌劇是多一點“古典”，而廣式多一點“民間”。這是很好的，要記住，在中國戲曲音樂的歷史，這是或多或少，他們的戲劇，民俗，音樂於一身，是一項長期而複雜的故事，回去數百年。我絕對沒有資格作出任何明確的陳述，哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇，這是什麼標記，通常這個紀錄是由一個喜歡小提琴，二胡或京胡的儀器，它的變化之一，和少數其他弦樂器。一般的雜音是提供一個節奏，鑼，鈸，木板等組成部分。唱的是居高不下的聲音，往往由男性表演了一個女人的作用（青衣江），並使用特殊發音的程式化的，過時的話傳唱，。這種風格往往很多將用於陪肢體動作，如雜技，精心設計的打鬥場面，手勢和一般的姿態舞台上的撞擊效果，要遠遠超過粵語野生。

在這裡，然後，是一個非常典型的例子，這種風格的，我猜從 1920年的。在我看來，百代錄在這種風格的最記錄，而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”，梅蘭芳，國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡，他唱了他的著名的巴黃某比亞基的序幕，這意味著皇帝巴黃某告別他的姘婦。 （塞內卡感謝翻譯嚼！）

這是一個著名的皇帝誰是沮喪，在他的手下在戰鬥中的損失的奇怪的故事。她自殺，以表達對她的忠君與著名的複雜的，程式化的劍，他的姘婦進行舞蹈，歌劇高潮！

3）潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂，承擔更多的相似性比其他中國戲曲的形式，特別是京劇（其實，這是在泰國錄得按我們的讀者之一，見進一步信息的評論）東南亞音樂。這個記錄是一個很好的例子，測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應，。在18 20世紀有很多移民從廣東到泰國，馬來西亞，新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近，在那些地方存在。

老虎

4）福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國（愛國）5318a “>>愛國（愛國）5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2，3或4系列的形式發布，以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似，經常有微妙的變化或的關鍵轉變，。這就是與這 2個記錄系列的情況下，這是第三部分。前三兩邊幾乎音樂相同，除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲，我從來沒有聽說過任何其他的中國紀錄！

我不是太肯定富豪的歷史，但它顯然在這個版本的時間，百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來，親愛的讀者，另一個極其晦澀難懂的中國戲曲的劑量。這一次，我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘（又名福建）是一種語言 /方言從中國南方省份福建，鄰國的廣東省，我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人，福建人移居到東南亞的許多地方，與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合，於 2011年10月，我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION，我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你（議員伊万注）

最終版權博士伊万suwandy 2011

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1）中國粵劇香港W.泉，1955年（三角）唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司，但不同的微量下面：

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。

2）Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3）歌劇院的中國皇帝明星唱片公司（請幫我翻譯的中國書法）

4）中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1）粵劇記錄 Courtecy哈吉馬騎（由大衛介紹）
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話，許多這些錄音是一邊倒的8000系列，在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡，有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴，班卓琴的聲音，那就是，高胡，三弦聲。

維克托 42126 A1

一個美麗的記錄，具有最終吹中國笛稱為肖，讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片，因為它的非常潦草，但，因為它是我所有的時間最喜歡的勝者記錄和我，因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡，我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩，這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方，並最終用於軍事，婚慶，民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai，等等。

第二次世界大戰後，世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤，在此期間出​​現，其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星（見下文）總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者！環顧四周，我敢肯定你會發現你有沒有聽說過的東西！

我已經發布了來自東方的記錄和不少粵語記錄的東西，但我只是無法抗拒的共享，這一最新的發現。異界！

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子，經過反复的日常生活listenings，所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注，將在七月一個驚喜 … …

首先是NUM星標籤的記錄，這個人是混亂敲擊球迷和球員的垃圾可以蓋！在馬背上，標題是大致趙 TZI龍，節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄，我已經張貼改變 … …聽 Beka，哥倫比亞龍，興登堡等

淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

潮州開 ODEON
 

據 WordPress博客統計，最常見的的搜索字詞這個博客，帶給人們的是“潮州戲”。因此，這裡有另一種為潮州球迷之一。

一個常見的抱怨是，所有潮州歌劇院的聲音相同的（有一些道理的話），但這個紀錄肯定脫穎而出 … …我不知道該說什麼，除非這是一個非常不尋常的的探空記錄！

標題是氧化鈦牟生童索（民困雪）。

更新：讀者哈維爾李永恩（！和她的媽媽）告訴我們，這裡的號角聲，是一個（或郝頭）這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說，這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意，這是一種罕見的冠冕堂皇的錄音，但我至少有50潮州78，但沒有一個像這樣的聲音。感謝哈維爾！

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍，這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下，他們很老，似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

（注：這條記錄的“G”的方已被摧毀的標籤，所以我filpside標籤）

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤，使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 （劉勵超）

在中國的第一個錄音發生在1903年在上海舉行，由Fred Gaisberg監督。他在第一次錄製會議的意見：

“他們對音樂的想法是tremdous的衝突和爆炸：鼓，三雙巨大的鑼鼓，一雙的slappers，一種班卓琴，喜歡風笛的聲音有些簧片樂器，和歌手大呼小叫的協助下，他們所謂的音樂留聲機。“
“第一天，10條記錄後，我們不得不停止。因此癱瘓的喧囂我魂飛魄散，我想不出。“
Gaisberg了在中國超過 300錄音。
（從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2）北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲，我真的很震驚。我已經聽到了很多不同尋常的音樂，但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了，不得不考慮這東西 … …

我很快就了解到，中國戲曲有兩種主要類型，而且我在這裡談論的78轉時代，北平歌劇院（又名北京或北京）和粵劇。北平歌劇是多一點“古典”，而廣式多一點“民間”。這是很好的，要記住，在中國戲曲音樂的歷史，這是或多或少，他們的戲劇，民俗，音樂於一身，是一項長期而複雜的故事，回去數百年。我絕對沒有資格作出任何明確的陳述，哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇，這是什麼標記，通常這個紀錄是由一個喜歡小提琴，二胡或京胡的儀器，它的變化之一，和少數其他弦樂器。一般的雜音是提供一個節奏，鑼，鈸，木板等組成部分。唱的是居高不下的聲音，往往由男性表演了一個女人的作用（青衣江），並使用特殊發音的程式化的，過時的話傳唱，。這種風格往往很多將用於陪肢體動作，如雜技，精心設計的打鬥場面，手勢和一般的姿態舞台上的撞擊效果，要遠遠超過粵語野生。

在這裡，然後，是一個非常典型的例子，這種風格的，我猜從 1920年的。在我看來，百代錄在這種風格的最記錄，而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”，梅蘭芳，國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡，他唱了他的著名的巴黃某比亞基的序幕，這意味著皇帝巴黃某告別他的姘婦。 （塞內卡感謝翻譯嚼！）

這是一個著名的皇帝誰是沮喪，在他的手下在戰鬥中的損失的奇怪的故事。她自殺，以表達對她的忠君與著名的複雜的，程式化的劍，他的姘婦進行舞蹈，歌劇高潮！

3）潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤，這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是，我打破了雷峰塔的記錄，我想後而試圖得到它的主軸孔太小，轉盤上，以適應 … …所以這是亞軍！

舊蔡寶峰劇團演出。 （劉勵超感謝翻譯。）

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂，承擔更多的相似性比其他中國戲曲的形式，特別是京劇（其實，這是在泰國錄得按我們的讀者之一，見進一步信息的評論）東南亞音樂。這個記錄是一個很好的例子，測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應，。在18 20世紀有很多移民從廣東到泰國，馬來西亞，新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近，在那些地方存在。

老虎

4）福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份，整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”，或者更準確地“Patriotsim”，作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲（在未來的職位即將）。

Ai-Guo (Patriotic) 5318a” Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國（愛國）5318a ” closure_uid_7oyu0g=”253″>>愛國（愛國）5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2，3或4系列的形式發布，以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似，經常有微妙的變化或的關鍵轉變，。這就是與這 2個記錄系列的情況下，這是第三部分。前三兩邊幾乎音樂相同，除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲，我從來沒有聽說過任何其他的中國紀錄！

我不是太肯定富豪的歷史，但它顯然在這個版本的時間，百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來，親愛的讀者，另一個極其晦澀難懂的中國戲曲的劑量。這一次，我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘（又名福建）是一種語言 /方言從中國南方省份福建，鄰國的廣東省，我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人，福建人移居到東南亞的許多地方，與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合，於 2011年10月，我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION，我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你（議員伊万注）

最終版權博士伊万suwandy 2011

 

 

 

 

The Vintage  Traditional Chinese Opera Record found from Native Tionghoa Indonesia  Ethnic

1) the Chinese Cantonese  Opera of Three kingdom  by Hong W.Quan, 1955(Sam Kok ) record label.

please compare with Haji Madji collections produce by the same inc but different tittle below:

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master.

2)Cninese Cantonese Opera Enter The Dragon Opera

compare with haji madji collections from google explorations

ENTER THE DRAGON

 

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

3)The Opera Of Chinese emperor by Ming Sing Record Label (please help me to translate the chinese calligraphy)

4) Chinese cantonese Opera Pagoda Record

compare with haji Midji collections below

TEOCHEW ON PAGODA

 

Pagoda was a great label that was most likely a subsidiary Deutsche-Grammophon along with Polyphon and Hindenburg. Pagoda seems to consist mostly of Teochew Opera from southern China. Unfortunately, I broke the Pagoda record I wanted to post while trying to get it’s too small spindle hole to fit on the turntable…so this is the runner up!

Performed by the Old Choy Bo Fung troupe. (thanks to Patrick Lau for translation.)

PAGODA V 3912a

 Opera Odeon record

and BEKA Record 

compere with haji Midji collections Opera Polyphone below

CANTONESE OPERA ON POLYPHON

 

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana Tree

Chinese Opera record from google Explorations

1)Cantonese Opera record Courtecy Haji Maji (introduced  by David)

FOUR PURPLE VICTORSThe 42000-43000 Victor series contains some of the most incredible Chinese music ever recorded. Predominately Cantonese, many of these recordings are reissues from the one sided 8000 series which were recorded in New York City and San Francisco as early as 1902. Because these were sold in the United States they are easier to find here, sometimes in great condition as leftover store stock.

This one has the classic Cantonese fiddle-banjo sound, that is, gaohu-sanxian sound.

VICTOR 42126 A1

A beautiful recording featuring the end blown Chinese flute called Xiao, reminiscent of Vietnamese and other Southeast Asian flute music.

VICTOR 42178 B2

Here’s another classic sounding Cantonese recording from the early 20th Century. This is a good example of the typical record from this Victor series.

VICTOR 43246 A3

I had decided not to post this recording because it’s pretty scratchy, but because it’s one of my all time favorite Victor records and I because you must be an intrepid bunch of music lovers to be here in the first place, I figured what the hell. Enjoy.

CANTONESE SUONA INSTRUMENTAL

 

 

I’m always amazed at how cacophonous these Chinese records can be and here’s a perfect example. A  Cantonese instrumental played on the suona. The suona is a type of shawm that originated in Northern China and eventually spread across China for use in military, wedding, folk and opera music. It’s similar to the Turkish zurna and the Indian shennai, among  others.

After World War II, local entrepreneurs around the world started setting up their own record companies. Tsing Ping is one of the many Chinese-owned labels that emerged in this period, many of which were based in Chinese immigrant communities throughout Southeast Asia. Tsing Ping and Num Sing (see below) were based in San Francisco.

TSING PING 33

MORE ORIENTALWelcome to any visitors from Excavated Shellac! Have a look around, I’m sure you’ll find something you haven’t heard before!

I’ve already posted something from Oriental Records and quite a few Cantonese records, but I just couldn’t resist sharing this recent find. Otherworldly!

Num Singthe hardcore Haji Maji listeners have probably worn out all my previous postings through repeated daily listenings, so today I will be posting THREE different records from some small independent labels of the 1940′s and 50′s. Stay tuned, there will be a few surprises in July…

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master. Thanks to Patrick for adding these details via the comments section.

GOLDEN STAR

 

 

Here’s another one I’ve never seen before….Golden Star Records from Hong Kong. This Cantonese record is most likely from the 1940′s or early 1950′s. It’s interesting to compare the way the Cantonese musical style has changed from the earlier records I’ve posted…listen to the Beka, Columbia dragon, Hindenburg, etc.

Amoy Instrumental

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

TEOCHEW ON ODEON

 

According to the WordPress Blog statistics, the most common search term that brings people to this blog is “Teochew Opera”. So here’s another one for the Teochew fans out there.

A common complaint is that all Teochew Opera sounds the same (which has some truth to it) but this record certainly stands out …I’m not sure what to say except that this is a very unusual sounding record!

The title is Tio Mou Seng Tong Sok (Man Trapped in Snow).

UPDATE: Reader Javier Li Yong-En (and her Mom!) informs us that the trumpet sound here is a Har To (or Hao Tou) which is commonly used to accompany onstage action in military or court scenes. She adds that this is a recording by a defunct opera troupe from Singapore called Lao Gek Chuong Hiang. She also sends a photo he took of the Har To. She disagrees that this is an uncommon sounding recording, but I have at least 50 Teochew 78′s but not a single one sounds like this. Thanks Javier!

ENTER THE DRAGON

 

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

(note: The “G” side of this record had a destroyed label, so I’m showing the filpside label)

CANTONESE OPERA ON POLYPHON

 

 

 

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana Tree

2) Peiping Opera record

A CLASSIC PEIPING DRAMA

 

 

 

The first time I heard Chinese Opera I was really shocked. I’ve listened to a lot of unusual music, but nothing seemed further from the western concept of music. I knew I was hooked immediately and had to look into this stuff…

I soon learned that there are two main types of Chinese Opera, and I’m talking about the 78 rpm era here, Peiping Opera (aka Peking or Beijing) and Cantonese Opera. Peiping Opera is a bit more “classical” while Cantonese style is a bit more “folk”. It’s good to keep in mind that the history of opera music in China, which was more or less their theater, folklore, and music all rolled into one, is a long and complicated story going back hundreds of years. I’m definitely not qualified to make any definitive statements about which style is older or the tangled webwork of influences.

Peiping Drama, which is what this record is labeled as, usually consists of a fiddle-like instrument called Erhu or Jinghu, or one of the variations on it, and a handful of other stringed instruments. The general cacophony is provided by a rhythm section consisting of gongs, cymbals, woodblocks and such. The singing is in an unnaturally high voice, often sung by men performing the role of a woman (qingyi) and using stylized, archaic words with special pronunciation. This style tends to be much more wild than the Cantonese, with a lot of percussive effects that would be used to accompany physical action on stage such as acrobatics, elaborate fight scenes, hand gestures and general posturing.

Here, then, is a pretty typical example of this style, I’m guessing from the 1920′s. It seems to me that Pathe recorded the most records in this style while other labels tended to record more Cantonese.

The singer is the “Opera King”, Mei Lan Fang, the internationally famous male singer known for qingyi roles. See the film Farewell My Concubine for some nice depiction of this.

Here he sings the prelude to his famous Ba Hwang Bia Gei, meaning Emperor Ba Hwang Bids Farewell to his Concubine. (thanks to Seneca Chew for translation!)

This is the strange story of a famous emperor who is despondent over the loss of his men in battle. The opera culminates with a famously complicated, stylized sword dance performed by his concubine as she commits suicide to express her loyalty to the emperor!

3)Teochew Opera record

TEOCHEW ON PAGODA

 

Pagoda was a great label that was most likely a subsidiary Deutsche-Grammophon along with Polyphon and Hindenburg. Pagoda seems to consist mostly of Teochew Opera from southern China. Unfortunately, I broke the Pagoda record I wanted to post while trying to get it’s too small spindle hole to fit on the turntable…so this is the runner up!

Performed by the Old Choy Bo Fung troupe. (thanks to Patrick Lau for translation.)

PAGODA V 3912a

TEOCHEW OPERA FROM SOUTHERN CHINA

 

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

TIGER

4)Fujian Amoy Opera Record

Amoy Instrumental

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

SLIDING TONES

 

 

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

AMOY OPERA FROM FUJIAN

 

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

the end @ copyright Dr Iwan suwandy 2011

The Rare Chinese Ceramic and Art Work Auction 2011

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

Introductions

 

Many visitor of r iwan cybermuseum were asked where I best sold my collections, for them I will show two recent auctions :

first the Shoteby chinese ceramic at Hongkong 2011

second the auction at  Marck Labarbe Toulouse France 2011

Only the rare collections  still bought by the collectors,

1.the ceramic from Tang dynasty

2.The Chinese old painting

3.The Old chinese statue

I hope the collectors all over the world will ejoy this informations,more info exist,but only for premium member,please subscribed via comment.

the end@copyright Dr iwan Suwnady 2011

THE CHINESE CERAMIC EXHIBITION

Cina dan Swedia: kenangan berharga

Pembukaan pameran hari Senin 26 September 2005
 

Pagi-pagi persiapan terakhir untuk pembukaan berjalan baik. Area pintu masuk dan penerimaan (kanan atas) yang memimpin para Tamu Kehormatan hingga ruang pameran yang sebenarnya sedang disiapkan di sisi timur pintu gerbang Meridian (Wumen) dari Kota Terlarang. Aula memaksakan langsung di atas Wumen adalah tempat pameran diadakan. Ini harus menjadi ruang pameran yang paling mengesankan yang pernah, untuk sebuah pameran porselen Cina.

Gambar 1:

Sebuah pemandangan spektakuler dari Meridian Gate (Wumen) dari Kota Terlarang, puncak-puncak atap puncak diselimuti kabut pagi sedikit. Kami berada di sana bersama-sama dengan dan seantusias ratusan wisatawan sudah berkumpul di tempat itu. Paviliun di atas drum ditempatkan gerbang yang dipukuli mengumumkan keberangkatan kaisar untuk Kuil Surga dan lonceng berdering untuk mengumumkan keberangkatannya ke Kuil Leluhur. Lonceng dan genderang di sini juga terdengar ketika kaisar akan menerima menteri di Taihedian itu (Aula Agung Harmony). Saat itu di tengah paviliun yang megah tepat di atas Gerbang Meridian bahwa Pameran itu digelar, pintu masuk bagi kita ditandai dengan bendera Swedia dan Cina yang mengapit tangga batu hingga lorong, paling kanan dari gambar. Lima jembatan di bagian tengah dari gambar berjalan di sebuah sungai berkelok-kelok. Air yang disuplai dapat digunakan untuk memadamkan kebakaran wabah di Kota Terlarang. Untuk mengabaikan ini mitos memegangnya bahwa sejumlah (lima) naga akan melihat keluar untuk ini tapi karena semua dalam semua, Kota Terlarang terbakar sekitar 55 kali itu juga diadakan bahwa naga itu tidak sepenuhnya melakukan pekerjaan mereka. Di latar depan gambar batu ukiran yang rumit naga pada jalur miring, ditumpangi oleh panggangan logam hari ini. Ini ukiran naga yang terletak langsung pada “tulang belakang Dragon” yang berjalan melalui Kota Terlarang seluruh dan seterusnya, adalah Feng Shui fitur dalam keyakinan bahwa roh-roh jahat tidak dapat melakukan perjalanan menaiki lereng jika tangga yang hilang, sehingga menjaga Kaisar aman dari kejahatan roh, dalam ukiran naga juga merupakan fitur pelindung untuk Kaisar. Yang cukup menarik, Saya telah browsing di Pasar Antik di Beijing beberapa hari kemudian dan menemukan untuk dijual, apa yang tampaknya menjadi pilar batu yang asli dating kembali ke Dinasti Ming mirip dengan yang Anda dapat melihat ke kiri dan kanan di latar depan gambar ini, dengan kesamaan yang mencolok dengan orang-orang yang benar-benar mengelilingi Altar Surga. Berat padat itu akan patung penyisihan tas tangan, jadi saya memutuskan untuk menyampaikan harta karun itu. Mudah-mudahan akhirnya akan menemukan jalan kembali ke altar.
 

Gambar 2:

Upacara Pembukaan dimulai. Mulia Putri Mahkota Swedia Victoria di tengah telah di sebelah kirinya Menteri Swedia untuk Perindustrian dan Perdagangan Mr Thomas Östros dan Duta Besar Swedia di Cina Mr Börje Ljunggren. Ke kanan nya Menteri, Deputi Cina Kebudayaan, Direktur Palace Museum, Mr Zheng Xinmiao dan Wakil Direktur Museum Istana, Mr Li Ji.
 

Gambar 3:

Sponsor utama dari seluruh acara – Volvo – diwakili oleh Wakil Presiden Senior AB Volvo Mr Karl Erling Trogen yang juga mengambil kesempatan untuk hadir ke Museum Istana sumbangan dari 18 potongan selcted dari porselen dari pameran.
 

Gambar 4:

Kerumunan selama pidato-pidato resmi pada Upacara Pembukaan. Panas musim gugur dan pengaturan berdiri canggung untuk para tamu pada acara itu mereda oleh angin dingin dan mengundang Beijing yang melanda sekitar kita. Tiba-tiba aku merasa nyata mendengarkan kata-kata yang dipertukarkan antara kedua negara dan menyadari bahwa tempat ini, di mana saya berdiri untuk acara ini, telah ada selama ratusan tahun sebelumnya. saat ini. Perasaan yang hadir di ‘sini dan sekarang’ di tempat bersejarah membuat saya merasa seolah-olah aku tidak tahu waktu lagi. Aku setengah berharap Kaisar Qianlong untuk pop turun dari lorong di atas untuk bergabung dengan kerumunan atau lebih kemungkinan beberapa kasim marah datang sekitar untuk memberitahu kita untuk segera jelas tangga sampai ke ruang Wumen upacara karena kita tidak punya urusan di sini. Suasana sangat menyengat dan peristiwa bersejarah kami hanyalah satu bagian dalam sejarah panjang tempat ini. Masih aneh yang tepat dan satu untuk bersukacita. Ke kanan bawah, pameran Swedia komisaris, penulis dan sarjana Jarl Vansvik, berjalan menaiki tangga, menuju ruang pameran.
 

Gambar 5:

Pada panggung Menteri Swedia untuk Perindustrian dan Perdagangan Mr Thomas Östros memberikan pidato introductury untuk acara tersebut, segera diikuti oleh Wakil Menteri Kebudayaan Cina, Direktur Palace Museum, Mr Zheng Xinmiao. Selain Mr Östros, seorang penerjemah Cina. Gadis-gadis cantik di qipaos fuschia berwarna itu pengawal ke acara tersebut.
 

Gambar 6:

Rapat Profesor Geng Baoshang, terkenal karena tulisan-tulisan yang mendalam dan beasiswa di porselen Imperial Chineses, adalah salah satu titik yang tinggi dari upacara pembukaan kepada saya, namun di luar program.
 

Gambar 7:

Tangga batu yang menuju ke Aula Pameran itu sendiri, warna-warna bendera Swedia mengapit tangga. Para architecuture tempat itu adalah sesuatu yang sangat menakjubkan.
 

Gambar 8:

Pintu masuk ke Aula Pameran dengan bendera dari dua negara dan peta rute perdagangan Timur Indiaman Gotheborg III, pelacakan pelayaran kapal untuk datang.
 

Gambar 9:

Sebuah pandangan dalam Hall Pameran. Membandingkan dalam dengan arsitektur luar kita menemukan bahwa apa yang tampaknya dua lantai sebenarnya adalah langit-langit yang tinggi dengan hanya berjalan di dalam balkon jendela fasad atas kedua tier. Ke kiri langsung di Ru yao hidangan dari The Museum Röhss itu ditampilkan dalam sebuah karya sendiri. Pada preview tekan seorang reporter mencoba untuk membuka menampilkan bahwa untuk mendapatkan gambar yang lebih baik dengan lemari kaca pergi, menyebabkan cukup keributan di antara staf keamanan.
 

Gambar 10:

Pecahan dari penggalian Wästfeldt dari koleksi Museum Maritim. Sebagian besar pecahan masih dalam tas mereka, diurutkan sesuai nomor untuk menemukan mereka, penentuan lokasi mereka di situs kecelakaan. Semua dalam semua beberapa 7 ton pecahan dibesarkan, dibersihkan, disortir dan terdaftar selama penggalian, pecahan-pecahan yang dipajang di sini hanya sebagian kecil dari total temukan.
 

Gambar 11:

Model abad ke-18 Indiamen Timur – atau, kapal dagang Barat ke Cina dan ‘Semua negara-negara Timur India’ sebagai dokumen lama juga dipajang memilikinya.
 

Gambar 12:

Sebuah tembakan dari diriku sendiri dan ke (kanan saya) Lars-Olof kiri Lööf, Kepala Departemen Koleksi dari Museum Kota Gothenburg di Swedia. Di belakang kami adalah Entourage Kerajaan dengan Mulia Putri Mahkota Victoria.
 

Gambar 13:

Dengan HRH Victoria meter hanya beberapa itu hanya masalah waktu sebelum tertangkap Entourage Kerajaan dengan kami dan saya merasa senang pertemuan HRH Victoria secara pribadi. Menjadi mana kami berada, aku tidak bisa membantu meminta kesan nya ini Imperial Palace – Kota Terlarang – sejauh ini, dan pikirannya tentang bagaimana dibandingkan dengan lingkungannya Stockholm. Saya harap saya tidak melampaui apapun kepercayaan kalau aku bilang dia merasa itu adalah tempat yang megah dan bahwa dia mungkin bisa mempertimbangkan tinggal di tempat seperti ini, tapi mungkin tidak kembali pada era Dinasti.
 

Gambar 14:

Sebuah tur yang menarik dari Pameran berakhir dan di sini, keluar Entourage Kerajaan dengan sebanyak, jika tidak lebih, perhatian seperti ketika mereka masuk. Setidaknya 25 fotografer dan wartawan bergegas setelah HRH Victoria tak terlihat dalam gambar ini. Itu adalah yang paling dekat dengan terburu-buru paparazi saya telah menyaksikan.
 

Gambar 15:

Pandangan langsung di luar pintu masuk ruang pameran akan pandangan Kaisar ketika melakukan pengumuman kepada kerumunan di luar Wumen tersebut. Itu adalah perasaan aneh berdiri di sini. Seolah-olah kaisar hanya sebelah Anda. Dari sini Anda cari di atap Beijing dalam cahaya yang sama seperti yang telah dilihat dan angin pada wajah Anda sama saja yang telah sini dari waktu paling awal. Itu hanya kerumunan di bawah yang baru, dan ya, bahwa Anda benar-benar memiliki hak untuk berada di sini dan hanya melihat.
 

Gambar 16:

Setelah badai … menenangkan. Orang banyak telah tersebar, setelah kenyang mereka dari harta di layar dan menyerap suasana seluruh acara. Salah satu tembakan terakhir saya untuk acara ini adalah dari tangga batu menuju ruang pameran itu sendiri dengan gambar Indiaman Timur III Gotheborg meluncurkan selama Upacara Pembukaan. Aku mengambil waktu sejenak untuk merefleksikan gambar dan Nya. Saya hanya bisa membayangkan apa yang kedatangan-Nya di tahun Kanton depan akan seperti, kenyataan akan menaungi gambar dalam sekejap! Di latar depan gambar adalah menunjukkan keramahan dipikirkan dengan baik dari sponsor yang tidak pernah gagal untuk mengesankan. Makanan dan minuman terus dilayani bahkan sebagai tamu meninggalkan, memastikan pada semua tahap melalui acara itu, para tamu makan dengan baik dan bahagia.

AKHIR

 

 

 

 

 

 

 

 

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ORIGINAL INFO FROM GOTHEBERG.

China and Sweden: Treasured Memories

 

PICTURES The exhibition Opening day Monday 26th of September 2005

Early in the morning the last preparations for the grand opening was well under way. The entrance and reception area (top right) that was to lead the Guests of Honor up to the actual exhibition hall was being prepared at the east side of the Meridian gate (Wumen) of the Forbidden City. The imposing hall directly on top of the Wumen was where the exhibition was held. This must be the most imposing exhibition hall ever, for a Chinese porcelain exhibition.Picture 1:A spectacular view of Meridian Gate (Wumen) of the Forbidden City, the crests of the roof tops enveloped in a slight morning mist. We were there together with and as enthusiastic as the hundreds of tourists already gathered in the place. The pavillion on top of the gate housed drums which were beaten to announce the emperor’s departure for the Temple of Heaven and bells to ring to announce his departure to the Ancestral Temple. The bells and drums here were also sounded when the emperor was going to receive his ministers in the Taihedian (Hall of Supreme Harmony). It was in the majestic centre pavillion right above the Meridian Gate that the Exhibition was held, its entrance for us indicated by the Swedish and Chinese flag that flanked a stone stairway up to the hall, far right of the picture. Five bridges in the mid-section of the picture run across a meandering river. The water supplied could be used to douse outbreaks of fires in the Forbidden City. To overlook this the myths held it that a number of (five) dragons would look out for this but since all in all, the Forbidden City had caught fire about 55 times it was also held that the dragons was not entirely doing their job. In the foreground of the picture is an intricate stone carving of dragons on a sloped pathway, boarded by metal grills today. This dragon carving that lies directly on the “Dragon’s spine” that runs through the entire Forbidden City and beyond, is a Feng Shui feature in belief that evil spirits cannot travel up the slope if the stairs are missing, thus keeping the Emperor safe from evil spirits, the dragons in the carving is also a protective feature for the Emperor. Interestingly enough, I was browsing at the Antiques Market in Beijing a few days later and found for sale, what seemed to be a genuine stone pillar dating back to the Ming Dynasty similar to those you can see to the left and right in the foreground of this picture, with striking similarity to those that actually surrounds the Altar of the Heaven. The solid weight of it would bust the hand luggage allowance, so I decided to pass on that treasure. Hopefully it will eventually find its way back to the altar.

Picture 2:The Opening Ceremony begins. HRH the Swedish Crown Princess Victoria in the middle has to her left the Swedish Minister for Industry and Trade Mr. Thomas Östros and the Swedish Ambassador in China Mr. Börje Ljunggren. To her right, Chinese Deputy Minister of Culture, Director of Palace Museum, Mr. Zheng Xinmiao and Deputy Director of Palace Museum, Mr. Li Ji.

Picture 3:The main sponsor of the whole event – Volvo – was represented by the Senior Vice President of AB Volvo Mr. Karl Erling Trogen who also took the opportunity to present to the Palace Museum a donation of 18 selcted pieces of porcelain from the exhibition.

Picture 4:The crowds during the official speeches at the Opening Ceremony. The autumn heat and awkward standing arrangements for the guests at the event was eased by the cool and inviting Beijing winds that swept around us. All at once I felt surreal listening to the words exchanged between the two countries and realizing that this place, where I stood for the event, had existed for hundreds of years before. this moment. The feeling of being present in the ‘here and now’ in such a historic place made me feel as if I couldn’t tell time any longer. I half expected the Emperor Qianlong to pop down from the hall above to join the crowd or more likely some angry eunuchs coming around to tell us to immediately clear the stairs up to the Wumen hall of ceremony because we had no business here. The atmosphere was overpowering and the historic event we were part was just one in the long history of this place. Still strangely appropriate and one to rejoice. To the bottom right, the Swedish exhibition commissar, writer and scholar Jarl Vansvik, making his way up the stairs, towards the exhibition hall.

Picture 5:At the stage the Swedish Minister for Industry and Trade Mr. Thomas Östros giving the introductury speach to the event, immediately to be followed by the Chinese Deputy Minister of Culture, Director of Palace Museum, Mr. Zheng Xinmiao. Beside Mr. Östros, a Chinese translator. The pretty girls in the fuschia colored qipaos were escorts to the event.

Picture 6:Meeting Professor Geng Baoshang, well known for his profound writings and scholarship on Chineses Imperial porcelain, was one of the high points of the opening ceremony to me, however outside the program.

Picture 7:The stone stairway leading up to the Exhibition Hall itself, the Swedish flag colours flanking the stairs. The architecuture of the place is something quite amazing.

Picture 8:The entrance to the Exhibition Hall with the flags of the two countries and a trading route map of the East Indiaman Gotheborg III, tracking the ship’s voyage to come.

Picture 9:An inside view of the Exhibition Hall. Comparing the inside with the outside architecture we find that what appears to be two floors is actually a high ceiling with only a balcony running inside the windows of the second upper facade tier. To the immediate left the Ru yao dish from The Röhss Museum was displayed in a showcase of its own. At the press preview a reporter had tried to open that showcase to get a better picture with the cabinet glass away, causing quite a stir among the security staff.

Picture 10:Shards from the Wästfeldt’s excavation from the collection of the Maritime Museum. Much of the shards were still in their bags, sorted according to their find numbers, pinpointing their exact location on the wreck site. All in all some 7 tons of shards was brought up, cleaned, sorted and registered during the excavation, the shards on display here being a mere fraction of the total find.

Picture 11:Models of 18th century East Indiamen – or, western ships trading to China and ‘All countries East of India’ as the old documents also on display had it.

Picture 12:A shot of myself and to the left (my right) Lars-Olof Lööf, Head of the Collections Departments of the Gothenburg City Museum in Sweden. Behind us is the Royal Entourage with HRH the Crown Princess Victoria.

Picture 13:With HRH Victoria only metres away it was only a matter of time before the Royal Entourage caught up with us and I had the pleasure of meeting HRH Victoria in person. Being where we were, I could not help asking for her impression of this Imperial Palace – the Forbidden City – so far, and her thoughts on how it compared to her Stockholm surroundings. I hope I am not overstepping any confidences if I tell she felt it was a magnificent place and that she possibly could consider living in such a place like this, but perhaps not back in the Dynastic era.

Picture 14:An interesting tour of the Exhibition comes to an end and here, the Royal Entourage exits with as much, if not more, attention as when they entered. At least 25 photographers and reporters rush after HRH Victoria unseen in this picture. It was the closest to a paparazzi rush I have witnessed.

Picture 15:This view directly outside the entrance of the exhibition hall would be the view of the Emperor when doing his announcements to the crowd outside the Wumen. It was a strange feeling standing here. It was almost as if the emperor was just next to you. From here you were looking at the roof tops of Beijing in same light as he had seen and the wind on your face was just the same that has been here from the earliest time. It was just the crowd below that was new, and yes, that you actually had the right to be here and just look.

Picture 16:After the storm… the calm. The crowds have dispersed, having had their fill of the treasures on display and soaking up the atmosphere of the entire event. One of my final shots for the event was of the stone stairway leading up to the exhibition hall itself with a picture of the East Indiaman Gotheborg III unveiled during the Opening Ceremony. I took a moment to reflect on the picture and on Her. I can only imagine what Her arrival in Canton next year would be like, the reality will overshadow the picture in an instant! In the foreground of the picture is a show of the well thought out hospitality of the sponsors that never failed to impress. Food and drinks continued to be served even as the guests were leaving, ensuring at all stages through the event, the guests were well fed and happy.THE END

The rare Chinese Modern Coins and USA Error Coins

THERARE CHINESE MODERN COINS . PLEASE CONTACT US FOR MORE INFO .IN LIMITED TEN SPECIAL EDITION CD,    View our blog section to read about critical information.  We write about a variety of topics important for everyone to know.  This is a great source of information about what is going on in the market.  Please contact us with any questions or information you need.    Visit OUR Web Blog hhtp://www.Driwancybermuseum.wordpress.com and subscribe as premium member via comment.rare, authenticated Modern Chinese coins ever seen.  and also many of the 100 Greatest US Error Coins.  Our inventory has been steadily growing as we keep acquiring many great pieces.  Please contact us if there is something informations  you are looking for.  .  .              two areas of Numismatics: Rare Modern Chinese Coins – the  inventory of rare, authenticated Modern Chinese coins. specialize in the low mintage, high quality rare coins.    Please email us with any questions.      Major Mint Error Coins –    the most diverse inventories of US error coins ; 100 Greatest US Error Coins.    We believe rare coins should be authenticated and encapsulated. With all of the news about counterfeit and altered coins, it is critical to have rare coins authenticated.   BIG NEWS: THE FIRST ERROR COIN TO CROSS THE MILLION DOLLAR THRESHOLD IN MID SEPTEMBER 2010!  IT SOLD FOR AN INCREDIBLE $1.7MILLION DOLLARS.  ERROR COINS HAVE BEEN HOT AND CONTINUE TO BE IN THE SPOTLIGHT. THE DECEMBER 2-5th 2010 CHAMPION AUCTIONS AND EDUCATIONAL FORUM DELIVERED EVERYTHING PROMISED.  MAJESTIC RARITIES WAS HONORED TO BE AN EVENT SPONSOR AND PLAY AN IMPORTANT PART OF THIS EVENT. JANUARY OF 2011 WITNESSED A 5 oz GOLD PANDA SELLING FOR JUST UNDER $240,000 AND A GOLD KILO SELLING FOR JUST UNDER $600,000!!!  PRICE RECORDS SHATTERED FOR TREMENDOUSLY RARE COINS.  THIS IS THE TREND. IN LATE APRIL OF 2011, THE FIRST MODERN CHINESE COIN CROSSED THE $1,000,000 USD THRESHOLD.  THIS COIN SOLD FOR ALMOST $1.6 MILLION USD!!!  Read the blog section to find out more.  IN MAY, THE SECOND MODERN CHINESE COIN CROSSED THE MILLION DOLLAR THRESHOLD AT ROUGHLY $1.2 MILLION USD.  the end @ copyright dr iwan suwandy 2011.

The China Province Sinkiang Unique collections

The Premium e-book  special for Premium Membar Fikri Alamudi and freind. the Ebook still in procesiisng starting at Modey. Look several   illustration of thePremium  limited E-book. If you wnat to know all info please registerd via comment.

I.PICTURES  COLLECTIONS.

1) Native Islamic Profile picture

2) PAINTING

(1)Silk Road Painting

(2) Ladnscape Paintings

3) Map

4) book

5) Landscape pictures

II.  NUMISMATIC  (Papermoney and coins)

1) Papermoney

2). Unique Coins

(1) Sinkiang

(2) empress dowager Xi Ci (Szu Chi) Coins

3) Fake Coin

4) My Friend coin Collection original or fake ? Please compare with the original coin above.

III. Postal History

The end@copyright Dr iwan s 2010

PUI-THE QING DYNASTI COLLECTIONS

CREATED BY Dr IWAN S FROM HIS PRIVATE UNIQUECOLLECTIONS

The Premium limited  private e-book special for collectors

Jakarta,@copyright Dr IWAN S 2010

_______________________________________________________________________________________

I . PREFACE

I HAVE  JUST PUT SOME PREMIUM E-BOOK INFORMATIONS ABOUT THE QING DYNASTY COLLECTIONS, IF THE SERIOUS PHILLATELIC WAN TO KNOW THE DETAIL INFORMATION ABOUT THIS SPECIALIST COLLECTIONS, PLEASE REGISTER VIA COMMENT TO BE THE PREMIUM MEMBER OF UNIQUECOLLECTION BLOG,THE EDITOR WILL CONTACT YOU EMAIL,AND AFTER THE PREMIUM ADMINSTRATION OK, YOU CAN ASKED ALL THE INFORMATION , I WILL ANWER TO YOU VIA E.MAIL, I AM SORRY i CANNOT  GIF INFO FOR FREE,YOU MUST BE THE MEMEBER WITH ADMINISTRATIONS COST TO PAY

ALL THE INFORMATION BASED ON MY PRIVATE VINTAGE BOOKS AND RELATED COLLECTIONS , THIS COLECTION HAVE BOUGHT IN VERY EXPENSIVE PRIZE. THAT IS WHY I NEED SOME FUND FOR UPGRADING UNIQUECOLLECTIONS BLOG.

JAKARTA JULY 2010

THE FOUNDER OF BLOG

Dr IWAN S ( iwansuwandy)

II. THE Qing Dynasty UNIQUE COLLECTIONS

1.The Qing Postmark History

1)PAT KUA POSTMARK

(1) *001 Tien sin Pat Kua Postmark 

*001 Pa kua Tientsin 

(2) *002 Shanghai Patkua

*002 Pa Kua Shanghai 

(3) *003 WUHU PATKUA

*003 Pa Kua Wuhu 

2DOLLAR DATE  POSTMARK (DDP)

(1) DDP WUKU 1898

Dollar date Wuhu 

(2) DDP  CANTON 1897

Dollar Date Canton 

(3) DDP AMOY 1898

Dollar Date Amoy 

(4) DDP TIENTSIN 1897

Dollar Date Tientsin 

(5) DDP PEKING (NOW BEIJING)  1897

Dollar Date Peking 

(6) DDP CHINKIANG  YEAR NOT CLEAR

Dollar Date Chinkiang 

(7) DDP KIUKANG 1898

Dollar Date Kiukiang 

(8) DDP ICHANG 1897 

 

Dollar Date Ichang 

 3THE, 19tH CENTURY SHANGHAI  POSTMARK

(1) OFFICIAL POSTMARK SHANGHAI   1898

Shanghai official 

(2) LOCAL POST SHANGHAI POSTMARK 1924

Shanghai Local post

(3) SHANGHAI CUSTOM AIRMAIL POSTMARK

 

S.Custom airmail matter 

(4) SHANGHAI CUSTOM POSTMARK 1897

Custom Shanghai 

(5) pOSTAL COMISSIONER SHANGHAI POSTMARK 1911

4. PEKING POSTMATK  1901

Peking 1901 

5. CHINA POSTMARK EARLY20tH CENTURY

1) BILINGUAL POSTMARK (BLP)

(1)BLP  CHEFOO 1901

BL Chefoo 1901 

(2) BLP YUNNANFOO ( KUNMING)

Local Yunnanfu 

(3) BLP KULING

Local Kuling 

(4) BLP NANCHANG

Local Nanchang

(5) BLP NINGPO

 

Local Ningpo 

(6) BLP KIUKANG

BL Kiukiang 

(7) BLP NAOMI

Local Kaomi 

4). LOCAL POSTMARK

(1) LPM KUNCHENG 1911

Local Kucheng 1911 

(2) LPM TIBET

Local Tibet 

(3) LPM TUMBSTONE  CHANGSITIAN

Cnangsitian Tumbstone 

(4) HANDPOSTMATMARK FOOCHOW 1909

4) FOREIGN CHINA POST OFFICE (FCPO)

(1)  JAPAN FCPO SHANGHAI 1897

Japan CPO Shanghai 1897 

(2) JAPAN MILITARY FCPO

DaiNippon military CPO 

(3) BRITISH BCPO SHANGHAI

British PO Shanghai 

(4) RUSSIAN FCPO

Russian PO 

Russian CPO 

(5) FRENCH FCPO

French CPO 1897 

French PO Langson 1902 

(7) GERMANY FCPO

German CPO 1900 

HS Foochow 1904 

Local Changsa 1904 

BESECT CHINA STAMPS

Bisect 1906

CHINA POSTAL STATIONER POSTCARD

1) QING 1897

Qing Card DD1897 

2)QING 1900 POSTAL STAIONER POSTCARD

Qing Card 1900 

3) QING pOSTAL sTAIONER POSTCARD 1907

Qing Card 1907

4) QING POSTAL STAIONER POSTCARD 1910 

Qing Card 1910 

5) pOSTAGE pAID STATIONER CARD 1911

Stationer card 1911 

Postal Commisioner 1911 

Lunar Date 1911 

BLD Bilingual Date 1909 

BLD Chungking 1909 

BLD Peking 1910 

BLDP Bilingual Date postmark 

Belgian China P.O. 

Pa Kua postmark 

Local Postmark 1894 

2. THE QING DYNASTY STAMPS COLLECTIONS

3.THE QING DYNASTY COINS COLLECTIONS

4.THE QING DYNASTY PAPERMONEY COLLECTIONS

5.THE LATE QING DYNASTY CERAMIC COLLECTIONS

6. THE LATE QING DYNASTY BOOKS

7.THE LATE QING DYNASTY PICTURE COLECTIONS

8. THE OTHER TYPE OF LQTE QING DYNASTY COLLECTIONS

II..INTRODUCTIONS
After 36 years research fromthe first time found the Qing Dynasty postmark collections in 1974 , very difficult to found the special catalogue about this type collections.
After the google had the special tools to explored allin informations in the Internet , I found enough information to start to report my reasearch. 

During Qing Dynasty, before joined UPU , all the latter send abroad must added the stamps from the country which had joined UPU, because the local stamps didn’t accepted. 

After the first local port stamps first issue at Shangai in 1863, the first Local Post Shanghai Postmark were issued and follow by the other Local Port Postmark like Amoy,Foochow, Chinkiang etc. 

The first Qing Imperial postmark were the Pa Kua*

,special chinese characters used five strip, and by cutting one or more line will made the special meaning, every city used this pa kua postmark with meaning the initial of the city.In 2007 I have found the first Pa kua postmark on Japan coil dragon stamps 1 c many Indonesian collectors didn.t want to collect this stamp because they think this postmark was blob and bad.
Pa means five, Kua means line, 

In 1896, the Qing emperor issued a special decree giving official recognation to the European postal system and the Ancient I Chan and Manchu Postal system were ended.Many European have their postoffice in China with their own postmark, the first postmark found was the German postal Office at Kiatschou*

. (read the complete history “The Qing Imperial Postal History” in this blog.) 

After joined UPU, the Qing postal system issued the internationalpostmark . round bigger like dollar coin, and this postmark called Qing Dollar Post mark*

, after that many types of postmark like double ring and Belingual postmark were issued. 

The last dynasty (emperor Puyi) have issued the special Temple of heaven stamps. Every year the Qing emperor prayed at this temple, and also issued the bilingual Date(BLD) postmark like Foochow, tengyoe ,Peking, Chungking. in 1909-1910, the last year of Qing Dynasty postal service , and after that ROC postal service begun with their own postmark Shanghai Lunar date and official government postage paid stationer postcard of Statistical departement. 

This reaseach report, was the first time with chronologic historic postmark , because many auctioner couldn’t gave the exact informations, they only said good Qing Postmark , some writers like Wikipedia have given the best narration f the Postmark , also some e-bay canada auction with the complete informations but many without the exact information, because too difficult to read the chinese characters.
I hope after read and look the illustrations, many collectors begin to understand the Qing Postmark, but stillmany informations need please the specialist collecter comment.

bESIDE THE pOSTMARK, i HAVE THE LATE QING STAMPS,COINS, BOOKS, PICTURES AND OTHER TYPE COLLECTIONS.   All of this collections will list and in the chapter III and Iv will arrange chronlogy with the realted history of the late Qing Emperor history.

Jakarta,July.2010

 
Dr Iwan s. the founder of  iwansuwandy.wordpress.com Blog.
@ copyright Dr Iwan S 2010. 

III.CHAPTER ONE: QING DINASRY COLLECTIONS IN 19 th CENTURY

1.1851
Cixi entered the forbidden city for allegedly not resisting the Taiping Rebellion in Anhui provinece.
In Sepetember 1851, cixi participated in selection process for concubines for the new Qing emperor Xianfeng with sixty other Manchu girls. This process was supervised by the Kang Ci imperial Dowger consorts, cixi was one of the few girls selected on that occasion and was appointed preparative concubine. 

2.1855
Cixi entering the forbidden city and became pregnant. 

3.1856
April.27th.1856, Cixin gave birth to Tong Zhi , the only male heir of the Xianfeng emperor which led to her eleveation to the rank Consort of the fourth rank. 

4. 1857
When Cixi Son Tong Zhi reach his first year birthday , cixi was elected to a “Noble Imperial Consort Yin” this rank is an imperial consot of the secnd degree after the Empress consort. This rank placed Cixi second only to the Empress Ci’an. 

5.1860
In september 1860, British and French troops attacks Beijing during the closing stage of the second opium war. The attack command by Lord Elgin was mounted in retaliation for the arrest of British diplomatic envoy Harry parkes and the torture and exceution of a member of westrern hostages. The Xianfeng emperor moved to Rehe Palace in the city of Rehe (now Cheng-he ,Hebe). 

In October 1860, The emperor’s exquisite Old Summer Palace had burned to ground. On hearing the news of that destructions the Xianfeng Emperor , who was already showing sign of dementia fell into a depression turned heavily to alcohol and drugs , and became severing ill. 

6. 1861
in August.21th 1861, The Xianfeng Emperor was died at Rehe Palace . Before his death, the emperor summoned eight of his most prestigiuos menister, headed by Sushan, Zaiyuan and Duan hua and name them the “Eight Regent Menister” to direct and support the future emperor. His heir, the son of Noble Consort Yi (future empress dowger CIxi) was only five year old.
On his death bed, The Xianfeng Emperor also summond his Empress Ci’an and Nble consort Cixi, and gave each of them a imperial Stamp, he hped that when his sn ascendede the thrne , his empress and Noble consort Cixi would cooperate in harmony and togetherhelp the yung emperor to grow and mature, it was also meant as a check on the power of the Eight Regent. 

By the time of the Xianfeng Emperor ‘s dead. Cixi had become a shrew strategies . In Rehe while waiting for an astrologogy favourable time to transport the coffin back to Beijing, cixi plotted to grab the power.When the Emperor funeral procession left for Beijing, Cixi took advantage of her Alliance with prince Gng and Prince Chun. they returned to Beijing befre the rest fvthe party, along with Zaiyuan and Duan hua, two of the principal reagent, while Su Shun was left to accompany the deceased Emperor’s procession.
Cixi with her Alliances have re-written the History, The reagents were dismissed for having carried out incompetenend negotiation with the “barbarian” which had caused Xianfeng Emperor to flee to Rehe. .
Among other charges Cixi and Prince Gong produced a document called the “Eight Guilts of Reagent Menisters” which included allegations such as altering the Xianfeng emperor wills causing his death and stealing power from the two Empress dowager(Ci’an and Cixi).
To show the world that Cixi had high mral standards, she executed only three of the Eight Reagent menistries.
This Palace coup is kown as the “Xinyuan Palace coup” in China after the name of the year 1861 in the sexagenary cyclics and Cixi became the first nly Qing Dynasty Empress to rule from”behind the curtains” 

A few days following the Coup , Cixi was quick to reward the Prince Gong for his help. he was made heads ofthe general Affairs Office and the Internal Affair office, his daughter was made a Gurun princess, a tittle usually bestowed only on the Empress’sfist born daughter.
In this year Britishman Robert hall started experience Postal service in china by send the letter from beijing to many city in China, some of that collections still exist in the china and foreign collectors collection. ( I have ever made the same experiment in 1979 with send the aerogram to all phillatelic service of Postal menistery of all over the world, and they send the informations stamps issued in the beautiful official or phillatelic covers,only two country cann’t recieve and send back to sender because the country didn’t exist anymore like Sahara africa and Isabela africa. I will put this exciting and rare collections in this blog-auth) 

7. 1862
Cixi decreed the opening of Tongwen Guan, a university -like institution in Beijing that hired foreigners as teacher and specialized in new age topic such as astronomy and methamethics as well as the English, French and Russian languages. The grupof youngboy also sent abroad to USA. 

8. 1863
The first local Shanghai Post stamp and postmark were issued. 

9.1864
Under the command of General Zeng Guofan the victorious Xianfeng army defeated the Taiping army in ahard battle at Tianjing( nor Nanjing) in July 1864. 

10. 1865
China lost in the second Opium war 

11.1872
When the Tongzhi emperor was 17 years old , under the guidance of empress Ci’an , he was merried to lady alute (her father had been an enemy of empress cixi during Xinyuan coup)
Cixi order Emperor Tongzhi to concentrated on ruling the country but only seventh month , following Cixi order in isolation him at Qianjing palace. 

12.1873
Tongzhi proved to be an incompetence Emperor, but he have made important policy decision during his short stand of rule. He decreed that the Imperial Summer palace would be completely rebuilt after destryed during opium war, under the pretach that it was a gift to empress Ci’an and Cixi. Historian also suggest that it was attempt to drive Cixi from the forbidden palce , so the emperor could rule without interference in Policy or his private affairs. 

13.1874
Feeling a grand scene of loss at court and unable t assist his authority, The Tongzhi emperor return t his former habit. It was runour the emperor caught Syphilis and became vivibiles ill. The doctor spread a rumour that the emperor had caught small pox. 

14.1875
On January,13th 1875 the emperor Tongzhi was died.
and Cixi was back into the helmof imperialpolicy.
Emperor Tongzhi died without leaving a male heir, creating an unprecedented successor crisis in the dynasty Qing.
After considerable disagreement between the two dowager (Ci’an and Cixi) , the first born of the first Prince Chun Yixuan and Cixi’s sister, then age four, was became the new emperor.
In 1875, was declared of Guang xu or the reign of glrious Success. The Yun Xetian was tahen from his home and for the remainder of his life would be cut completely ff from his family. 

15. 1877
Cixi forbade construction a railway because too loud and would “disturb the emperor thomb”. When construction went ahead anyway in 1877 under Li Hong Zhong recomendation , Cixi asked that they be pulled by horse-drawn carts . 

(16) 1878
The first Qing Imperial stamps large dragon were issued, and also the first Qing imperial Pa Kua postmark. 

(17) 1881
The sudden death empress Ci’an in April 1881 brought Cixi a new challange, and she became the only reagentat court. 

(18) 1884
The local treaty Post Chungqing issued the first stamps with their own local postmark. 

(19) 1886
The German Post office at Kiatshou china issued surcahrge China on German stamp withtheir own postmark. 

(20) 1888
The first Local stamp of Taiwan island ere issued. 

(20) 1890
The Shanghai Local post office issue the Shanghai local stamps double dragon. 

(21) !893
The treaty Port issue the first stamp with their own local post postmark at Chefoo. 

(22) 1894
(a)The Hsing Chung Hui came into being at Honolulu on November.24th.1894 after Cina’s defeat by Japan, and was to play an important part in the creation os Asia’s first Republic (ROC).
(b) Dr Sun Yat Sen had petitioned Prime Minister Li Hung-chang for reforms in the Qing government but was no heeded. He then toured the Beijing-Tientsin area to test the strength of the Manchus. Revolutionaries inspired by thhe Hsing chung Hui then rose up in Canton and Huichow. Although unsuccessful, they raised the curtain on the long process of the National revolution.
(c) In this year the first Sino-japanese war.
(d) The qing imperial post issued special commemrative empress cixi birthday stamps.
(e) Local Post treaty port Hankow , Foochow , Chinkiang and Kewkiang issued the first stamps with their own local postmark.
(f) The French China post office issued surchage Chine on French stamps with their own postmark. 

(23)1895
After organizing the Hsing Chung Hui, Dr Sun went to Hongkong in January 1895 to establish a party chapter, then revolutionaries then decided to spark an uprising in Canton and Dr Sun,Lu Hao-tung and Chen Shao went there to make preparations. They decided to adopt the white Sun-Blue sky Flag designed by Lu Hao-Tung as their revolutionary standard.
Empress Cixi unsatisfied with her tomb, rdered its destruction and reconstructed in 1895
For her Sixtieth birthday in 1895, Empress Cixi was given ten million taels of silver which many believed was used to furnish her summer palace
In this year the local treaty port Amoy,Wuhu and Ichang issued the fist stamps and their own local postmark. 

(24)1896
The Qing Emperor issued a special decree giving fficial recognation to the “European” Postal System, and the Foreign Postoffice postmark also issued.and the ancient postal systems Ichanl and Minchu were end and the new postal system under the Chinese Marine Custom were opened. with their custom postmark.
In this year tearty port Nanking issued the first stamps with their own local postmark. 

(25) 1897
(a)In this year all cixi birthday stamps and revenue were surcharge with china characters and new value , why ? I Think after the end of Ancient postal system Ichan and Minchu were end, the new system under The Chinese marine custom were made special surcharge with new nominal value to control the portunity of using the old stamps and the new system also issued the japanese print coilling dragon issue.
What about the Pa kua and Local postmark, we will analisys the used stamp in this year and after. and our conclusian Pakua postmark and kocal postmark still used, because i found Kiu Kinang Pa Kua postmark on surcharge Cixi birthday stamp with KiuKiang Customs date postmark date May.6.97.
(b)Paking Dollar date postmark 6 sept 1897 on surcharge Cixi birthday stamp.
(c) Chefoo Dollar Postmark date 10 Aug 87 on surchage 10 cent cixi birthday stamp
(d) Franch Post office in china Shanghai postmark on surcharge Chine on Franch stamp 20 cent,date 13 Aout -97
(e) Postally used cover from Kiu Kiang Dollar date postmark June 22,1897 on surcgarge red revenue stamp to Shanghai.
(f) Postally used cover from Chinkiang Dollar date postmark August 27,1897 on surcharge 2 cents on red revenue to Shanghai.
(g) October 1,1897 London coiling lithograped dragon stamp were issued. design by R.A. de Villard(ill.his profile)
(h) Postally used cover from Nanking Dollar date September 15,1897 to surcharge 2 cent red revenue (block 4) ,transit shanghai Frech P.O. postmark 17 sep 97 to germany Nurenburg CDS
(i) postally used cover from Peking Dolar date postmark 17 nov 97 n Japan coil dragon 2 cent stamp.trasit village postmark to Tientsin dollar
date 18 nov 97.
(j) Postally used cover from Amoy Dollar Date postmark Dec1,1897 n Japan coil dragon stamp 2 cent to Hongkong.
(k) Postally used cover Japan Cill Printing(JPC) 1 c from cancalled by Shanghai Pa Kua to destination Shanghai Local Post postmark cds Dec 3 1897.
(l) Tientsin Pa kau postmark on JCP 2c, with French China 5 cent CDS Dec,8,97
(m) Stampless cover with bilingual PAID postmark and handwritten 10.
(k) Custom Shanghai Postmark Mar 1 1897.
(n) Canton Dollar Date postmark 24 Aug 97
(o) Custom Hankow postmark Apr 29 , 1897.
(p) German Post Office in China Shanghai post mark 13.8.97 on surcharge China on GERMAN STAMP 20 PF.
(q) jAPAN pOST OFFICE IN cHINA sHANGHAI jAPAN P.O.POSTMARK 12 OCT 97
(r) Shnaghai Dollar date pst mark 20 oct 97 on SHANGHAI POSTA STATIONER POSTCARD. 

(26) 1898
(a)Jan.1898 issued London Coiling dragon disign by A.B.hill(carp) and Josep (wild goosed) line -engrave print Stamp
(b)Postally used cover Shanghai Dollar date Postmark 12 Jan 98 on JPC 2 cent to Shanghai destination Loca Post cds Ja 18 98.
(c)Tientsin Pa Kua post mark on JPC4 cent
(c) Shanghai Pakua post mark on JPC 2 cet with destination Shanghai Local Post june 9,1898..
(d)In September 21th 1898, Coup d’etat carried ut by General Ronghi, the Guangxu emperor was taken to Ocean Terrace, a small palace on an island in the middle of Zhongnan has linked to the rest of forbidden city with only a controlled causeway.Empress Cixi would follow with an edict dictating the Guangxu emperor the disgrace and the Guangxu emperor ‘s reign had effectively came to end end. After that the emperor lost all honours,respect,power and previllage including his freedom of movement.
(e)In this year The Qing imperial post issued London print cilling dragon stamp.
(f)In this year Wei Hai Wai leased area issuee the provisional Courier post stamps and their own postmark.
(g) Postally used cover from Ichang Dollar date postmak 18.may.98 on surcharge cixi birthday stamp to Shanghai.
(h) Postally used cover with Kiukang Dollar date postmark August 27,1898 on surcharge i c on cixi birthday stamp 1 c.
(i) Postally used cover with Tientsin Pa Kua Postmark on surcharge 2 cent on cixi birthday 2 c stamp
(j) Postally used cover from Wuhu Dollar date postmark 13 nov 98 n JPC stamp 4 cent and R postmark on JPC 2 c
(k) Guard against theft private postmark on JPC stamp 1c with Pa Kua postmark
(l) Japan Post office in China postmark CDS Shanghai 18 Apr 98 on JCP 5 c (2 x) 

(27) 1899
(a)The Wei Hai Wei Lease area issue the firs stamp of provisional courier Post LKT and their own postmark.
(b)The Russian imperial Post at China issued the surcharge KHTAH on russia stamsp with their own postmark.
(c) Tientsin Pa Kua post mark on LCP 1/2 cent. with Tientsen Custom CDS May 25 99.
(d) Wuchow Pstmark 22 Oct 99 and Postage 1 cent port on bisect JPC 2 cent. stamp.
(e) handwritten Foochow postmark 11-6/99 

CHAPTER TWO : THE QING DYNASTI COLLECTIONS IN EARLY .20th CENTURY

(1) 1900
(a)postally used cover send from Tumbstone postmark changsitien post office on LCP stamp to destination shanghai bilingual date postmark jan.6.1900.
(b)In 1900, Cheng shih-liang led another uprising at Huichow. Dr Sun instructed Shih Chien-ju and Teng Yin-nan to provide supportive revolutionary activity in Canton. The uprising at Huichow failed. Shih Chien-ju then decided to assasinate Governur Te Shou. He dug a tunnel t the governr’s ffice from a house nearby and planted explosives. But Te Shou was not killed and Shih Chien-ju was arrest and put to death.
(c)Joint Force of the eight great powers entering Beijing in August.1900 during the Boxer incident.
The Boxer uprising broke out in the nothern china ,perhaps fearing futher foreign intervention,Cixi threw in her supprt to then anti foteihn bands.The chinese military was unable to preventing the Allied army from marching on Beijing and seizing the forbidden city.
The Chinese military was under equipped and under funded partly because Cixi had earlier consumed precious funds to build a stone Boat of Purity in the old Summer palace.
The British Expeditionary Force Postal in Beijing issued their stamps surcharge C.E.F on india stamps with their own postmark.
(d) The Japan Imperial Post Office in china issued the surcharge China in kanji char on Japan stamps with their own postmark.
(e) London coil dragon stamp 2 cent(2x) used Peking Postmark jul.1-1900 , RH Rober Hart postal used Cover.thirteen Hart covers reprt by Sam Chiu (2001), 11 cover recorded by Li Zha-ning, So few Hert cover this day.Hart had ordered hislatter papers and papers printed with initial R.H. (lok at illustration)
(f) Postally used cover with Wuchow Bilingual date postmark July14,1900.
(g) German post office in china postmark Tsingtau Kiaurshow cds Mar.24.1900 on bloch four china surcharga on german stamp 10 Pf. 

(2)1901
(a) Peking oval Bilingual Postmark Feb 21 1901 on JCP stamp 2 c and 10 c.
(b)Chefoo bilingual date post mark 16 jul 01 on LCP stamp.
(c) British Post Office Shanghai CDS feb. 21,1901 

(3)1902
Postally use cover with Franch Indochina Lang Son Tonkin CDS 10 SEp 02 on LCP 2 cent to arrival Hanoi Tonkin CDS on French Indochina stamps 

(4)1904
(a)Dr Sun with London Supporters in 1904 (photo). After organizing the Tung meng Hui in Tokyo, dr Sun toured England,belgium,France and germany in the revolutionary cause.
In this year The Qing Imperial Post issued London print coilling dragon surcharge with Postage due and also issue london print 1st blue Postage Due stamp
(b) Chungking Lunar Date postmark on besect JPC stamp b 2 c with Chngking local stamp destination au.6.1904. 

(5)1905
(a) Returning to Japan in July of 1905, Dr sun was welcomed by Chinese student. He brought revolutinary organizations together in the Tung meng Hui.
(b)On July.20th.1905, student from 17 Chinese province studying in Japan organized the Tung Meng Hui (Society of Revolutionary Alliance).
Dr Sun addressed the Tokyo meeting on the importance of democratic revolution in China.
In the manifesto issued by the Tung meng hui revolutionaries occured the first mention of the Republic of China as the name for entity to succed the Qing Dynasty. These ideas were precursors of Dr Sun’s three principles of the People (Nationalism,Democracy and Social Welfare) , which provided the guidelines for estabilsment and development of the Republic of China(ROC).
(c)The Qing Imperial Post issued the 1st Express stamps. 

(6)1906
In April 1906, the Changsa Post Office have permission for bisect LCP 2 cent cancelled Changsa Bilingual postmark 10 april 06(1906) 

(7)1907
(a)Chiang Kai-shek went to Japan in 1907 to continue his military studies.
(b) Shanglai Local postmark nov 19 o7 on green Shanghai postal stationar card 3rd issue ic. 

(8) 1908
(a) Transit Shnaghai Chine cds postmark 5.11-08
(b)In November,14th .1908 the emperor Guangxu was died, and the forensic reported the caused by Acute Arsenic pisoning.
In November ,15th,1908 Cixi having installed Puyi as the new empeoro of he qing Dynasty.
In November , 16th 1908 Empress dowager Cixi died in the hallof graceful Bird at the middle sea of Zhong nan hoi , her death came only one day after the death of the Guangzu emperor.
(c)The Belgian Post Office in China issued surcharge Chine of belgia stamp with their wn postmark
.(d) Shanghai postal stationer postcard 1 c , not clear post mark arrival Canton Bilingual date postmark21.5. 08 

(9) 1909
Temple of Heaven stamp issued by Hsuan Tung used with Chungking biligual date(BLD) postmsark 25 Nov 1909. and Chungking transit postmark 24 nov 9 and Hankow destination postmark 1 dec 09. 

(10) 1910
(a)Peking Bilingual Date(BLD) postmark 11 Apr 10 on Temple of Heaven stamp 1 c and 4 cent.
(b) In June of 1910 Chiang was initatited into the Tung meng hui and met Dr sun Yat-sen. 

(11)1911
(a)Postal Postage Paid statistical department inspectorate general stationer cover send with shanghai lunar dater postmark feb 4 1911
(b)On March 29,1911, some of 170 revolutionaries attacked the Kwangtung-Kwangsi Governor’s office in Canton under command of Huang Hsing. they were determined to prevail or die. Although it failed because of lack of reinfrcemetns, the uprising roused the people against the Qing manchu.
(c)The March 29 uprising at canton was the 10th under Dr Sun yat-sen’s direct leadership.Although traumatic, it sent out shock waves that rocked qing manchu rule. the do-or-die spirit of these revolutionaries is enshrined in Chinese history. The remains of 72 martyrs were entobed at Yellow Flower mound in Canton, this site became a shrine of the national Revolution. Eight-six revolutionaries are known to have been killed in the incident and they may have been more,this day later became the martyr Day and the next year as Youth day.
(d) Shanghai Postal Commissioner postmark Apr 18 1911.
(e)In September,1911. the Wuchang revolutinaries rise up and overthrew the Qing dynasty.
(f)October.10th,1911
The Tung Meng Hui provided leadership for eight uprisings against Qing Dynasty at Huangkang Chaochow ,Huichow,Chinlien,Chennankuan,Shangsu in Chienlien, Hokow in Yunnan,Yellow Flower Mound in Canton and Wuchang. The last of these on ctber 10.1911 led the dwnfall of the Qing Dymasty and the birth of the ROC. The shot fired at Wuchnag brought an immediate response from Tung meng Hui members in Shanghai under the leadership of Chen Chi-mei. The successive victories of the revolutionaries quickly convinced the Qing Mancus that they could not loner prevail. and the downfall of the Qing dynasty came quickly.
(g)In October 13 , 1911. Chiang leading more than a hundred do-or-die commandos who attacked government office at hangchow and capture the Manchu Governor. Chiang had returned to Shanghai and joined Chen Chi-mai for nanking-Shnaghai-hanchow area. He then hurried to Hangcxhow to head the successful revolutionary attack of October 13.
(h)Chinese General Post office were opened, with special postmark another administration pstmarklike registered, revenue etc.
(i)Postally used cover from Kucheng lunar postmark to Tiebet lunar postmark transit Tihua (urumtsi), Transit Peking lunar postmark and peking belingual postmark March 27 1911 

(12) 1912
The founding Father Dr Sun Yat-sen leaves Shanghai station the morning of the Newyear’s day ,1912 for his Nanking swearing-in as the Republic of China’s provisional President.
Please collectors be patien, this informations still in prcess, the illustration will install one by one 

THE END @copyright Dr Iwan S.2010

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