The History of the Shaolin Culture

Introduction

Shaolin Culture has evolved for over 1500 years.

It is important to understand how shaolin history can be interpruted. The information here is to accept or reject as you like (as directed by the last lesson of the Buddha).

1. This time period seems to be surrounded in myth and legend, historical facts may not have been recorded too officially, hence there are slight variations in the accounts of the origination of Shaolin Monks and the Temple.

2. Whichever account holds the most accuracy the fact that the Shaolin Temple and Shaolin Monks have held, during the last 1500 years, sigificant importance in protection and peace keeping within China. Aswell as a widly respected knowledge and developed research into physical, mental and spiritual ability and wisdom.

3. An Indian Buddhist priest named Bodhidharma (Tamo in Chinese) by all accounts seemed to have been a key character within the group of circumstances that lead to the origination of Shaolin "Budist" Monks.

4. The temple had been built years before in the remains of a forest that had been cleared or burned down. At the time of the building of the temple, the emperor's gardeners had also planted new trees. Thus the temple was named "young (or new) forest", (Shaolin in Mandarin, Sil Lum in Cantonese).

According to historical records, the Shaolin Temple was built during the Northern Wei Dynasty in the 19th calendar year of the reign of Emperor Taihe (495) and is one of China's most famous ancient temples. The Shaolin Temple once had many monks on its premises. Those monks of the lower level mostly came from the secular society and some of them knew some martial arts before entering the temple. Those who knew martial arts taught and helped each other to improve their skills. They also absorbed the experience of their predecessors and gradually developed their martial arts into the unique Shaolin school.

There are many key elements that brought about the arise and development of the Shaolin Monks and their Temple it has long been an established and widly respected place of multi faceted learning. Shaolin Culture enbraces a myriad of knowledge connected to physical, mental and spiritual well being.

Key influences in the early history of the Shaolin Temple

Budism and Martial Arts

An Indian Buddhist priest named Bodhidharma (Tamo in Chinese) seems to have played a key role within the origination of Shaolin History. The Indian form of Buddhism, Hinayana, found its way into China in the 1st century B.C., but didn't fit Chinese conditions therefore not well received by the Chinese working people because of the differences between India and China such as natural conditions, social customs, languages, etc. But this was all different after Bodhidharma founded the Chan Sect. He came to China in 527 settling at the Shaolin Temple. There, he taught his new disciples a new school of Buddhism, the Chan Sect, which differs from Hinayana since it adapts more to the Chinese culture. Because of the Chan Sect and the Shaolin Monks embraced the Buddhist faith, they accepted many others since the Chan Sect tolerates everything but killing, robbing, looting and sex. Other Buddhist schools were more strict. The Chan Sect spread rapidly in China dominating more than 70% of Buddhist Temples throughout the country.

When Tamo arrived at the temple, he was refused admittance, probably being thought of as an upstart or foreign meddler by the head abbot (Fang Chang). Rejected by the monks, Tamo went to a nearby cave and meditated until the monks recognized his religious prowess and admitted him. Legend has it that he bored a hole through one side of the cave with his constant gaze; in fact, the accomplishment that earned his recognition is lost to history.

When Tamo joined the monks, he observed that they were not in good physical condition. Most of their routine paralleled that of the Irish monks of the Middle Ages, who spent hours each day hunched over tables where they transcribed handwritten texts. Consequently, the Shaolin monks lacked the physical and mental stamina needed to perform even the most basic of Buddhist meditation practices. Tamo countered this weakness by teaching them moving exercises, designed to both enhance ch'i flow and build strength. These sets, modified from Indian yogas (mainly hatha, and raja) were based on the movements of the 18 main animals in Indo-Chinese iconography (e.g., tiger, deer, leopard, cobra, snake, dragon, etc.), were the beginnings of Shaolin Kung Fu.

By the time of the late Ming or early Qing Dynasty Shaolin Kungfu had won fame for its special characteristics and routines.

It is hard to say just when the exercises became "martial arts". The Shaolin temple was in a secluded area where bandits would have traveled and wild animals were an occasional problem, so the martial side of the temple probably started out to fulfill self-defense needs. After a while, these movements were codified into a system of self-defense.

First, Shaolin Kungfu was basically Luohan Boxing, the origin of the various routines of Shaolin Kungfu. Shaolin Monks created the Xinyi (Heart-and-Mind) Boxing, mimicking the actions of animals and human labour to defend themselves against wild animals. But this was still far from being an integral system of Shaolin Boxing routines.

As time went on, this Buddhist sect became more and more distinct because of the martial arts being studied. This is not to say that Tamo "invented" martial arts. Martial arts had existed in China for centuries. But within confines of the temple, it was possible to develop and codify these martial arts into the new and different styles that would become distinctly Shaolin. One of the problems faced by many western historians is the supposed contraindication of Buddhist principles of non-violence coupled with Shaolin's legendary martial skills. In fact, the Shaolin practitioner is never an attacker, nor does he or she dispatch the most devastating defenses in any situation. Rather, the study of kung fu leads to better understanding of violence, and consequently how to avoid conflict. Failing that, a Buddhist who refuses to accept an offering of violence (i.e., and attack) merely returns it to the sender. Initially, the kung fu expert may choose to parry an attack, but if an assailant is both skilled and determined to cause harm, a more definitive and concluding solution may be required, from a joint-lock hold to a knockout, to death. The more sophisticated and violent an assault, the more devastating the return of the attack to the attacker. Buddhists are not, therefore, hurting anyone; they merely refuse delivery of intended harm.

During the Song Dynasty, Fu Ju, abbot of Shaolin Temple, invited experts from 18 wushu schools to exchange and teach each other skills at Shaolin. They remained for 3 years and edited the Shaolin Boxing Manual which described 280 routines.

During the Jin and Yuan Dynasties, monk Jue Yuan travelled to Luoyang and Lanzhou where he met experts Bai Yufeng and Li Sou, and with them to Shaolin for further exchange of wushu skills. Subsequently, more than 70 routines of Shaolin Boxing were created on the basic 18 routines of Luohan Boxing, which developed further into 173. Jue Yuan also created the Leopard, Snake, Crane, Tiger and Dragon Boxing techniques.

During the Qing Dynasty, the government put a ban on the practice of weapons which caused many monks of Shaolin to leave and roam the country. When they returned, these monks brought back what they learned from other schools. At night, the monks would take out their weapons and start practising all they had learned. By the end of the Qing Dynasty there were several hundred types of Shaolin Boxing techniques in use. Though some have been lost since, more that 100 types of sparring technique have survived such as Pao (cannon), Yuan (monkey) Xinyi (heart-and-mind), Luohan, Xianhong, to name a few.

Evolution of Shaolin Martial Arts

The Cudgel a simple but effective Weapon used by Shaolin Monks

The first weapons used by the Shaolin Monks was the the cudgel. It played an important role in Shaolin's history. In almost every battle they fought, the cudgel was probably the most commonly used weapon. The Shaolin Monks first used the cudgel during the late Sui Dynasty when peasant rebels such as the Red Turbans would plunder the rich to give to the poor. Well, it just so happened that Shaolin was by far the wealthiest monastery in Henan therefore naturally targeted. One day when the peasant army stood before the temple gate ready to strike, Jin Na Luo, the stove tender, seized his fire stoker, scattering the Red Turbans with such courage utterly confusing the invaders. Jin Na Luo became known as the first of the Shaolin cudgelling monks.

Today, the cudgel is still widely profound and well known of any other weapon practised at Shaolin. Since the monks were disciples of Buddhism, the cudgel is an ideal means of self-defense since Buddhism is opposed to killing and fighting and the use of sharp weapons such as the sword and spear. Even in the past, the cudgel has become Shaolin's most celebrated weapon. For example, the rescue of Li Shi Min, the Tang Emperor, and the defeat of the Japanese Pirates, the cudgel was used for both campaigns.

Shaolin cudgel techniques are simple and practical, and can be applied to one's great advantage in self-defense. Bare-handed, a monk can deal with at least two people, but with a cudgel, one can deal with a dozen! Shaolin cudgelling emphasises footwork-leaping, somersaulting and balancing. Although many methods have been lost today, almost 30 have been preserved. Some methods include Qimei (Eyebrow), Fenghou (Wind-and-Fire), Xiaomeihua (Little Plum Blossom) and Qitiandasheng (The Monkey King).

There are over 20 weapons used by the Shaolin Monks today. They include the common axe, cudgel, spear, halberd, sword and broadsword, 3-section staff, dart, dagger, black tiger hammer, plum-blossom broadsword, Bodhidharma staff, tiger hooks, and many more. These weapons were equally divided between short and long. Among all these weapons, the cudgel, spear, sword and broadsword, known together as the four major weapons of Shaolin. However, Shaolin Monks weren't just commonly armed with the major four, they had many short weapons hidden on the body such as the dart, iron fan and flute, Bodhidharma staff, many of these being unique to Shaolin. The use of hidden weapons gave Shaolin Monks additional power over their enemies. There are many weapons that a Shaolin Monks can use effectively. They can use anything, even a bench.

Some of the principles in Shaolin Martial Arts

The Shaolin school is very popular in secular society with a myriad of followers. Over the years it was enriched theoretically and its techniques perfected to form a colossal system of fist fight. Compactness is a feature of the Shaolin school. The moves and tricks of this school are short, simple and succinct as well as versatile. While fighting, Shaolin boxers would advance and retreat straight forwardly. They need only a small space to execute their style of fist fight which is described as "fighting along a single straight line." Shaolin Quart is powerful and speedy with rhythmic rising and falling of body movements. It stresses hardness of actions and blows but it also advocates softness in support of the hardness. The motto of the Shaolin fist fight says "hardness first and softness second." When jabbing or palming, the arm is required to be neither bent nor straight, in an attempt to blend external and internal forces.

1. First of all, it is necessary that the body would be agile, quick and energetic. For instance, if you take a step, your hand should make a correspondent swift movement; movements of all parts of the body must be coordinated. When you have to strike, try not to look even at the shadow of your hand, i.e. do not attract your attention to the fist. You must improve your skill all the time, only in this case you will be able to reach staggering results.

2. The second precept: motion and rest of two arms and two feet must be in coordination and in supplement of each other. Motion of the heart that controls the distribution of "chi" energy is born in the region of cinnabar "dantian" field (approximately 3 to 5 cm below the navel). The activity of the "chi" energy enforces the body to carry heroic struggle and to be valiant like a tiger or a dragon. If force and energy are melted into a single whole in the body, it is demonstrated by the ability to exert astonishing sounds.

3. The third precept of combat arts is as follows: During a fight all the five elements should represent a unique fusion. In order to understand the interaction of the five elements of nature, one should observe Nature and the arrangement of the Universe around us. If you perceive laws of the birth and the surmounting of the five elements, you will understand the nicety of combat arts. Each of the five elements originates with the single "chi" energy. This energy is the base of the force which makes the body to act. If you understand their mutual transformation, you could move things weighing thousand of jins (one jin is equal to about 600 g) with one motion of your hand or foot. This precept also demands that blood and "chi" should be in harmony with each other. If the blood and "chi" are in harmony and good health, the man enjoys iron health and strength.

4. The fourth rule you must know demands the knowledge the eight-point theory of "ba tiao". For instance, you move up and down, retreat, but your retreat appears to be an advance. If you follow this law, your eight successes will become more impressive. Owing to it your movements up will be energetic and your movements down will be pliable and soft, and all the movements will be coordinated. You must be prepared to meet an enemy who appears, disappears and appears again. Your enemy can be as dangerous as a tiger released from its cage. However, if you are able in an instant to turn about to defend yourself from the front and from the rear, you would look like a divine protector of combat arms who is always protected from all the sides. You should be able to turn very quickly to face an enemy's attack from the left and from the right. If you retreat, you should decoy your enemy into a trap. During an attack fury will be helpful for you. In that case you will look like infuriated tigers and snow leopards. A small birdie which takes its chance can fly over a high mountain.

5. The fifth precept one should know about combat arts is: your gait must be as stout as that one of gods. It is better to make five more steps than to make a mistake by one qun (one qun is equal to 3.2 cm approximately). There are different types of movements during a fight. Measured steps (qun bu) should be separated from each other by not more than three chis (one chi is equal to 0.32 m). In a struggle your life is at stake all the time, that's why you should step carefully and measurably. Steady steps should be separated from each other by five chis, and a too big step is equal to two gongs (in the ancient times one gong was equal to five chis). A quick step (kuai bu) is equal to one zhan (one zhan is equal to 10 chis). As a matter of fact, it is a horizontal leap that is made with energetic force of thighs and feet (i.e. by the whole leg). A spilling step (zhan bu) is a great upward leap to be made, if you are rounded up and you have to break out of encirclement.

6. The six rule is the knowledge of arm and leg work during a fight. The special point with Shaolin combat arts is fist work. The pugilistic methods are such that each punch must pierce the enemy and cut him into pieces. The arm should bend without bending and unbend without unbending so that the enemy could not follow your movements and could never get sight of your punch. Your arms should separate your thorax with a speed of a lightning. Activity and training of sinews determine the force of arms. The punch must be a surprise, so the enemy could not avoid it. The arm must make an accurate cut, obediently flying up and readily, if necessary, going down. Notwithstanding how your body is twisted and your hands are bound by the enemy, there is always a chance to free yourself, like a swallow has always a chance to find water springs. If in a close combat one of the hand is pinned down or both hands are neutralized, you can punch with a stone elbow. Your punch can be directed into the enemy's pudenda from below. Leg movements are more mysterious. There are seven leg works: "qi" - uprising, "fan" - overturning, "lo" - tumbling, "zhin" - advance, "ti" - kick, "qai" - kick, "zhuan" - kick. All the five natural elements unite into one "chi", feet act in unison striking from the front and from the rear, so it is impossible to approach you. Step by step and no any sound is heard except sounds of punches of infuriated soles touching the ground after strikes. The legs are like ferocious tigers or dragons in the sky.

7. The seventh rule demands simultaneous advance of arms and legs, because during the fight they act together and depend on each other. If you furiously use only your arms, the result may be only satisfactory; the reason is: when you advance, your feet, arms and torso should act in complete agreement. One should aim at achieving the following qualities: mind, body obedience, manhood, speed and fury. During an actual fight those five qualities will bring you miraculous results. Mental work - "gong" means that during a fight one must more depend on one's mind. Body obedience - "shun" means that one must train his body for a long time to make it natural one. Manliness -"yong" means that one should work out bold plans and boldly realize them. Speed - "ji" implicates that during the execution of methods of hand-to- hand fighting one must act fast like a lightning. Fury - "hen" is required only at the moment of your attacks. You should keep a vigilant watch over enemy's stances and positions and clearly understand them. You must easily find his weak points. You should not rashly start fighting and deliver blows.

8. The eighth precept one should know about combat arts is all-round defense, its distinct manifestations and timely pursuit. If a man keeps in harmony those rule in his actions, he will become invincible. The rule of cover - "ting" consist in the necessity of permanent protection in the front, from the behind, from the left and from the right. Besides, one must not forget that the enemy can strike from above and from below. The rule of opening - "kai" consist in the necessity of opening your weak or strong points depending on the situation on the left or on the right and in the necessity of delivering and receiving blows with the support of sinew force. Both fist and palm must be formed during a spurt. The rule of distinct manifestation - "zhe" is used for the work of arms, body, head and heart. At the moment of an action there should be a clear and efficient manifestation. If you act, you must be as fierce as a tiger, and if you manifest a sentiment, it must be a frightening fury. Your shout should frighten your enemy. You should be able to win without a fight, only with your loud laughter. This rule consisting of few hieroglyphs is more precious than gold. The rule of pursuit - "zhui" consists in the following. You should use any opportunity to pursuit your enemy and should not give him a chance to collect himself. As soon as steps become faster, you should use this opportunity to rush to the enemy. If at that moment you act like lightning and thunder, you can take anyone by surprise.

9. The ninth rule which one should know about combat arts is as follows. Three human elements - eyes, ears and heart intelligence must be in harmony. You should have attentive and active eyes and follow any enemy's manipulations all the time. You must prick your ears to sense movements and rest. You should have keen ears to hear voices of tigers and snow leopards from the eight sides of the Universe. The eyes look, the ears listen and they transmit the received information to the heart. If the heart is bright and eyes are alert, you will not commit mistakes.

10. The tenth rule for those who practice in combat arts is as follows. Use your sinews, because "shen", the ability to use spiritual sources, allows to achieve a great success. Sinews are chiefs of bones. If sinews tremble, "chi" energy is wasted. Furthermore, sinews are transmitters of information of three senses (vision, hearing and mind). If you are in possession of them, it is a great success.

Shaolin through the Dynasties

Shaolin Monks during Qi Dynasty (550-577)

During the Northern Qi Dynasty (550-577), Shaolin monks could lift hundreds of kilograms in weight and were good at Chuan and horse riding. By the end of the Sui Dynasty (581-618), Li Shimin, king of the Qin state, fought with the self-appointed emperor of the Zheng state, Wang Shichong. Shaolin monks Zhi Cao, Hui Yang, and Tan Zong took the side of Li and helped him catch the latter's nephew Wang Renze to force the self-appointed emperor to surrender. After Li Shimin was enthroned as the first emperor of the Tang Dynasty, he awarded his followers according to their military merits and contributions. Monk Tan Zong had the title of chief general conferred on him, while the Shaolin Temple was given large grants of land and money to expand the temple complex. The Shaolin Temple was allowed to organize an army of monk soldiers, who acted as military people in warring times and as monks in peace time. The Shaolin school of Chuan improved and developed through the trials of battles and wars.

Shaolin Monks during the Ming Dynasty (1368-1644)

The Shaolin monks in the Ming Dynasty (1368-1644) were all taught to practise Wushu. In the 32nd calendar year of the Jiajing reign (1553), the Shaolin military monks took part in the battles against Japanese invaders in southern China and accomplished many military exploits. Wang Shixing of the Ming Dynasty wrote in his Tour of Mount Song. "All of the 400 Shaolin Temple monks have good Wushu skills." "Fists and cudgels were wielded as if they were flying during practice." Cheng Chongdou also of the Ming Dynasty wrote in his book The Dossier of Shaolin Cudgel Fight: "Shaolin monks are best known for their cudgel fights." Ming general Yu Dayou, who was reputed for his anti-Japanese military service, went to teach cudgel fighting skills in the Shaolin Temple. It was in the latter half of the Ming Dynasty that Shaolin monks switched from cudgel fighting to fist fighting, so that fist fights could be promoted to match cudgel fights.

Shaolin Monks during the Qing Dynasty (1644-1911)

In the Qing Dynasty (1644-1911), the people living around the Shaolin Temple were very active in practising Wushu, which boosted the development of the Shaolin school of martial arts. In the Shaolin Temple, the rear hall was used for Wushu exercises, where various kinds of weapons were displayed on the weapon stands ready for use at any time. Some monks practised fist fighting to safe-guard the temple. After years of exercises and practising, foot prints were stamped on the brick floor of the rear hall and these prints can be seen clearly even today. On the north and south walls of the White Clothes Hall, there are Qing Dynasty murals vividly depicting the exercises practised by monks in the temple.

In the fifth calendar year of the Yongzheng reign of the Qing Dynasty (1727), people were not allowed to practise Wushu. However, they could not be stopped either in the secular society or in the Shaolin Temple, where Wushu was practised underground.

Apart from the Shaolin Temple on Mount Songshan, the Shaolin Temple was said to have set up more than a dozen Shaolin affiliates in other temples in the country. The Shaolin Temple on Mount Nine Lotus in Fujian Province during the Ming Dynasty was famous for developing the Shaolin Quan.

More recent developments with Shaolin

Around the 1911 Revolution against the Qing Dynasty, the Shaolin martial arts under went further developments. Wushu clubs were established all over the country and most of them took the Shaolin Quan. Lots of patriots organized sabre and flying sword groups in order to overthrow the dynasty. They constantly practised their skills and contributed greatly to the cause.

Shaolin during the last century

The Boxer Rebellion

The Boxer rebellion in 1901 was the beginning of the end of the Shaolin temples. Prior to that, China had been occupied by Western and Japanese governments and business interests. The British had turned the Imperial family into an impotent puppet regime largely through the import and sales of opium and the general drug-devastation inflicted upon the poor population. This lead to the incursion of other European powers, including Russia, France and Holland, and later the Japanese and Americans. By the late 1800s, China was effectively divided into national zones, each controlled by one of the outside powers (similar to post World War II Berlin, on a hugely larger scale). The long standing animosities between China and Japan worsened, and extended to include all other "foreign devils" as well. Coupled with the now almost universal disdain by the Chinese for their Empress, a Nationalist movement with nation-wide grass-roots support was born. Among the front line soldiers of the new "order" were the legendary and near-legendary martial artists--many Shaolin--known as Boxers (remember how Bruce Lee, in his films depicting these times, refers to himself as a Chinese boxer...). Though their initial assaults on the military powers of the occupation governments were not entirely successful (many believed in Taoist magical spells that would make them impervious to gunfire), their temporary defeat would lead to a more modern reformation that included adopting modern military weapons and tactics.

The withdrawal of western forces was prolonged over many years, and by the end of World War I saw China in an almost feudal state of civil war. Not only were national troops fighting loyalists, but both sides had to fight the Japanese (who still held much of the northern Manchurian region of China) as well as many powerful, regional warlords. Many parts of China were virtually anarchies, but by 1931 almost all non-Asian occupants had been successfully driven out (with the interesting exception, in the late 1930s, of the volunteer American airmen known as The Flying Tigers, who helped repel Japanese forces prior to World War II), and the major combatants within China were the Nationalists and the Communists. Both sides displayed the typical jingoistic attitudes of forces in mindless warfare--if you aren't with us, you are against us. Neutrality meant nothing except the possibility of a later enemy. Consequently, Shaolin and other monks were routinely murdered by soldiers from both sides. One result of this program of murder was the exodus of many monks into the hills, or abroad, with the hope that Shaolin knowledge might survive even if the temples themselves did not.

The temples were unfortunate victims of war in a land that had abandoned its historical practice of respecting posterity and ancestors. All were ransacked and looted by various armed groups. O Mei Shan Temple ("Great White Mountain"), in Szechuan Province, was situated on a mountain top and deemed by Chinese officers to be a fitting target for artillery practice. It was shelled in turn by Nationalist and Communist armies. In a fitting twist of fate, this one-time site of medical and natural history knowledge was rebuilt by the Communists in the mid 1970s, and now stands as the National Park and Research Headquarters for the panda preserve.

There are various stories coming out of China today referring to the history of Shaolin, particularly over the past 300 years. The fact that Chinese authorities outlawed Shaolin and martial arts practices makes any story about their history from such sources suspect. The prevalent wu-shu styles originated as a result of a compromise between the post-World War II governments and the national need and history of having a martial arts tradition.

Timeline of Shaolin History.

Kung Fu Timeline

ca. 800 B.C. Boxing in China can be traced back reliably to the Chou Dynasty

700 B.C. Wrestling in China can be traced to at least this time

ca. 500 B.C. During the Chou dynasty. Taoist monks developed a series of health and meditation exercises

1st century A.D. "Six Chapters of Hand Fighting", in Han Book of Arms written by Pan Kuo (39-92 A.D.)

ca. 220 A.D. Hua To, "Five Animals Play" - tiger, deer, monkey, bear, and bird

5th century A.D. Shaolin Temple at Honan built

ca. 520 A.D. Tamo (Bodhidharma) to China

8th century A.D. Go-ti exported to Japan from China, develops into Sumo

Earliest formal exportation of kung fu.

1100-1300 Shaolin "heroic period". Esoteric nature of kung fu begins to collapse, several burnings of Shaolin temples during this period

1300s Period of Shaolin resistance to Mongols. Chang San-feng, Taoist monk, adds softness to kung fu

Shaolin arts reached a zenith during the Ming dynasty

late 1400s White Crane developed in Tibet during Ming dynasty, introduced to China ca. 1840

1522 Five Form Fist

16th century Kwok Yuen expands Tamo's 18 exercises into 72

Dragon style: ca 1565

Mantis style: ca. 1600

Chin na: ca. 1607

17th century Hsing-I

17th century Hsing-I

18th century Wang Tsung-yuen introduces T'ai Chi Ch'uan into Honan (early 1700s)

Wing Chun: ca. 1776

19th century Choy Li Fut: 1830s

Monkey style: ca. 1842

20th century 1900-aftermath of Boxer Rebellion, attempted purge of martial arts from the Middle Kingdom

1928: wu shu renamed to kuo su (martial arts)

1967: Jeet Kune Do

1972: "Kung Fu" TV series

1973: death of Bruce Lee

Chinese Dynasty Timeline

Old Stoneage - Approx 170 million years ago - Approx 1 million years ago

New Stoneage - Approx 1 million years ago - 4000 years ago

Xia Dynasty - Bc 2070 - BC 1600

Shang Dynasty - BC 1600 - BC 1046

West Zhou Dynasty - BC 1046 - BC 771

Chun qui Dinasty - BC 770 - BC 476

Zhan guo Dynasty - BC 475 - BC 221

Qin Dynasty - BC 221 - BC 206

Xi han Dynasty - BC 206 - AD 25

Dong han Dynasty - AD 25 - AD 220

San guo Dynasty - AD 220 - AD 280

Xi jin Dynasty - AD 265 - AD 317

Dong jin Dynasty - AD 317 - AD 420

Nan bei Dynasty - AD 420 - AD 589

Sui Dynasty - AD 581 - AD 618

Tang Dynasty - AD 618 - AD 907

Wu dai Dynasty - AD 907 - AD 960

Bei song Dynasty - AD 960 - AD 1127

Nang song Dynasty - AD 1127 - AD 1279

Yuan Dynasty - AD 1206 - AD 1368

Ming Dynasty - AD 1368 - AD 1644

Qing Dynasty - AD 1616 - AD 1911

Zhong hua ming guo Dynasty - AD 1912 - AD 1949

Peoples Republik - AD 1949