Chinese mythology and cosmology rest on the concept that the universe is shaped and maintained by two fundamental forces called yin and yang. They are opposites yet complementary forces that interact to form a dynamic system where the whole is greater than the assembled parts.
In “Civilization of China” (1911), Herbert Giles wrote that “for pleasure pure and simple, independent of gains and losses, the theater occupies the warmest place in every Chinaman’s heart”. The fact that the Chinese theater is also known by the name guo cui (“quintessence of the nation”) solidifies its prestige as the most important form of entertainment in China where it has been for centuries.
These women are the apsaras, beautiful dancing women in the court of Indra, king of the gods, in the celestial palace in Hindu mythology. They are the heavenly charmers who fascinated heroes and allured sages from their devotions as well as the “rewards” in heaven given to heroes who fall in battle. The apsaras have the power to change their forms and give good luck to whom they favor.
In 1904, a copy of an ancient book which had been lost for more than 1400 years was discovered in India. A modest book written on palm leaves, its outward appearance was proven to be deceiving as the book contained surprisingly detailed information on how an effective government should be run, treating wide-ranging topics from war, diplomacy, law, taxation, agriculture, how to manage secret agents, when it is useful to violate treaties, even when to kill family members.