Chinese folklore in the context of "Chinese mythology"

The Chinese dragon or loong is a legendary creature in Chinese mythology, Chinese folklore, and Chinese culture generally. Chinese dragons have many animal-like forms, such as turtles and fish, but are most commonly depicted as snake-like with four legs. Academicians have identified four reliable theories on the origin of the Chinese dragon: snakes, Chinese alligators, thunder worship and nature worship. They traditionally symbolize potent and auspicious powers, particularly control over water and weather.

Shaolin kung fu (Chinese: 少林功夫; pinyin: Shàolín gōngfū), also called Shaolin Wushu (少林武術; Shǎolín wǔshù), or Shaolin quan (少林拳; Shàolínquán), is the largest and most famous style of kung fu. It combines Mahayana Buddhist, Chan philosophy and martial arts. It was developed in the Shaolin Temple in Henan, China during its 1500-year history. In Chinese folklore there is a saying, "Shaolin kung fu is the best under heaven", which indicates its superiority among martial arts, and "All martial arts under heaven originated from Shaolin", which indicates its influence on other martial arts. The name Shaolin is also used as a brand for the external styles of kung fu. Many styles in southern and northern China use the name Shaolin.

Chen Yuanyuan (c. 1623–1689 or 1695) was a Chinese courtesan who later became the concubine of military leader Wu Sangui. In Chinese folklore, Chen’s capture by the Shun army during Li Zicheng’s conquest of Beijing in 1644 prompted Wu’s fateful decision to open Shanhai Pass to the Manchu army in order to form a joint force to rescue her, an act that sealed the downfall of the Ming dynasty and the founding of the Qing.

Peking opera, or Beijing opera (Chinese: 京劇; pinyin: Jīngjù), is the most dominant form of Chinese opera, which combines instrumental music, vocal performance, mime, martial arts, dance and acrobatics. It arose in Beijing in the mid-Qing dynasty (1644–1912) and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing, Tianjin and Shanghai. The art form is also preserved in Taiwan, where it is also known as Guójù (Chinese: 國劇; lit. 'National opera'). It has also spread to other regions such as the United States and Japan.

Peking opera features four main role types, sheng (gentlemen), dan (women), jing (rough men), and chou (clowns). Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Peking opera characteristically sparse stage. They use the skills of speech, song, dance and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Peking opera can be divided into the xīpí (西皮) and èrhuáng (二黄) styles. Melodies include arias, fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1,400 works, which are based on Chinese history, folklore and, increasingly, contemporary life.

The Moon rabbit, Moon hare or Jade rabbit is a mythical figure in both East Asian and indigenous American folklore, based on interpretations that identify the dark markings on the near side of the Moon as a rabbit or hare. In East Asian mythology, the rabbit is seen as pounding with a mortar and pestle, but the contents of the mortar differ among Chinese, Japanese, Korean, and Vietnamese folklore. In Chinese folklore, the rabbit, Yutu, is often portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her and some show the making of cakes or rice cakes; but in Japanese and Korean versions, the rabbit is pounding the ingredients for mochi or tteok or some other type of rice cakes; in the Vietnamese version, the Moon rabbit often appears with Hằng Nga and Chú Cuội, and like the Chinese version, the Vietnamese Moon rabbit also pounding the elixir of immortality in the mortar. In some Chinese versions, the rabbit pounds medicine for the mortals and some include making of mooncakes. Moon folklore from certain Amerindian cultures of North America also has rabbit themes and characters.