This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)

This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters.

History of Mongolia
This article is part of a series
Pre-Mongol periods
Xiongnu 209 BC–155
Xianbei 93–234
Rouran 330–555
Göktürk 552–744
Uyghur 742–848
Kirghiz 539–1219
Khitan 916–1125
Medieval period
Khamag Mongol 1120–1206
Mongol Empire 1206–1271
Yuan Dynasty 1271–1368
Northern Yuan Dynasty 1368–1636
Qing rule 1636/1691–1911
Modern period
Independence Revolution 1911
Outer Mongolia (1911–1919) 1911–1919
Occupation of Mongolia 1919–1921
People's Revolution 1921
Mongolian People's Republic 1924–1992
Democratic Revolution 1990
Modern Mongolia 1990–present
See also
Timeline of Mongolian history
Culture of Mongolia
Geography of Mongolia
Pan-Mongolism
Mongolia Portal v t e

The Xianbei (simplified Chinese: 鲜卑; traditional Chinese: 鮮卑; pinyin: Xiānbēi; Wade–Giles: Hsien-pei) were a significant Mongolic nomadic people residing in Manchuria, Inner Mongolia and eastern Mongolia.

Origins[link]

Chinese historical texts unequivocally state that the Xianbei were descendants of the Donghu. The Donghu are mentioned by Sima Qian as already existing in Inner Mongolia north of the state of Yan in 699-632 BC. Mentions in the Lost Book of Zhou (Yizhoushu) and the Shanhaijing indicate the Donghu were also active during the Shang dynasty (1600-1046 BC). The Upper Xiajiadian culture is sometimes associated with the Donghu. Donghu, and therefore the Xianbei, were also heirs of the horse-riding nomadic way of life first seen in the Afanasevo culture (3500-2500 BC) in Mongolia^{[citation needed]}. They were a Tengriist, pastoralist, yurt-dwelling warlike people fond of epic poetry, wrestling, horse racing, archery, fur hats and fermented mare's milk. The Mongolic-speaking Xianbei originally formed a part of the Donghu confederation^{[citation needed]}, but existed even before that time, as evidenced by a mention in the Guoyu ("晉語八" section) which states that during the reign of King Cheng of Zhou (reigned 1042-1021 BC) the Xianbei came to participate at a meeting of Zhou subject-lords at Qiyang (岐阳) (now Qishan County) but were only allowed to perform the fire ceremony under the supervision of Chu (楚), since they were not vassals by covenant (诸侯). The Xianbei may have come to Qiyang as one of the Donghu tribes or as a separate Mongolic tribe. Whatever the case, they later formed an integral part of the Donghu confederation and took part in its various wars. As a nomadic confedation composed mainly of the Xianbei and Wuhuan, the Donghu were prosperous in the 4th century BC during the later Zhou dynasty, forcing surrounding tribes to pay tribute and constantly harassing the State of Zhao (325 BC, during the early years of the reign of Wuling) and the State of Yan (in 304 BC Qin Kai, general of King Zhao of Yan, was given as a hostage to the Donghu). The Donghu, who were ruled by a king, enjoyed a golden age in the 4th century BC before Wuling and Qin Kai retaliated by adopting Donghu clothing and battle tactics and the North Wall of the Yan State was built to keep the Donghu out. Despite losing battles to Wuling and Qin Kai the Donghu were still powerful and prosperous (according to Sima Qian) until 209 BC when the Xiongnu rose to put an end to their dominance.

Painting depicting a Xianbei archer

After the Donghu were defeated by Modu Chanyu around 208 BC the Xianbei and Wuhuan survived as the main remnants of the confederation. The Hou Hanshu says that “the language and culture of the Xianbei are the same as the Wuhuan”. Tadun of the Wuhuan (died 207 AD) was the ancestor of the proto-Mongolic Kumo Xi (aka Tatabi). The Weishu (Description of the Khitan, Vol. 1000, 2221) records that the Kumo Xi and Khitan (descendants of the Xianbei) spoke the same language. In 49 AD the Mongolic Xianbei ruler Bianhe (Bayan Khan?) raided and defeated the Xiongnu, killing 2000, after having received generous gifts from Emperor Guangwu of Han. In 54 AD the Xianbei rulers Yuchoupen and Mantu presented themselves to the Han emperor and received the titles of wang and gou. Until 93 AD the Xianbei were quietly protecting the Chinese border from Wuhuan and Xiongnu attacks and received ample rewards. From 93 AD the Xianbei began to occupy the lands of the Xiongnu. 100,000 Xiongnu families changed their name to Xianbei. In 97 AD Feijuxian in Liaodong was attacked by the Xianbei, and the governor Qi Sen was dismissed for inaction. Other Xianbei rulers who were active before the rise of the Xianbei emperor Tanshihuai (141-181) were Yanzhiyang, Lianxu and Cizhiqian. Cizhiqian fought against the Han dynasty in the period 121-132 with mixed results. The Xianbei reached their peak under Tanshihuai Khan (reigned 156-181) who expanded the vast, but short lived, Xianbei Empire.

Tanshihuai was born in 141. According to the Hou Hanshu his father Touluhou had been serving in the Southern Xiongnu army for three years. Returning from his military duties Touluhou was furious to discover that his wife had become pregnant and given birth to a son. He ordered the child put to death. His wife replied: “When I was walking through the open steppe a huge storm developed with much lightning and thunder. As I was looking upward a piece of hail fell into my mouth, which I unknowingly swallowed. I soon found out I had gotten pregnant. After 10 months this son was born. This must be a child of wonder. It is better to wait and see what happens.” Touluhou did not heed her words, so Tanshihuai was brought up secretly in the ger (yurt) of relatives. When Tanshihuai was around 14 or 15 years old he had become brave and sturdy with talent and ability. Once people from another tribe robbed his maternal grandparent’s herds. Tanshihuai pursued them alone, fought the robbers and managed to retrieve all the lost herds. His fame spread rapidly among the Xianbei tribes and many came to respect and trust him. He then put some laws and regulations in force and decided between litigants. Nobody dared to violate those laws and regulations. Because of this, he was elected supreme leader of the Xianbei tribes at the age of 15 and established his ordo (palace) at Mount Darkhan. He defeated the Dingling to the north (around Lake Baikal), Buyeo to the east (north of Korea) and the Wusun to the west (Xinjiang and Ili River). His empire stretched 7000 km and included all the lands of the former Xiongnu.

Xianbei Empire under Tanshihuai (141-181)

The Sanguo Zhi records:

Tanshihuai of the Xianbei divided his territory into three sections: the eastern, the middle and the western. From the You Beiping to the Liao River, connecting the Fuyu and Mo to the east, it was the eastern section. There were more than twenty counties. The darens (chiefs) (of this section) were called Mijia, Queji, Suli and Huaitou. From the You Beiping to Shanggu to the west, it was the middle section. There were more than ten counties. The darens of this section were called Kezui, Queju, Murong, et al. From Shanggu to Dunhuang, connecting the Wusun to the west, it was the western section. There were more than twenty counties. The darens (of this section) were called Zhijian Luoluo, Rilü Tuiyan, Yanliyou, et al. These chiefs were all subordinate to Tanshihuai.^[1]

Uneasiness at the Han court about this development of a new power on the steppes finally ushered in a campaign on the northern border to annihilate the confederacy once and for all. In 177 A.D., 30,000 Han cavalry attacked the confederacy, commanded by Xia Yu (夏育), Tian Yan (田晏) and Zang Min (臧旻), each of whom was the commander of units sent respectively against the Wuhuan, the Qiang, and the Southern Xiongnu before the campaign. Each military officer commanded 10,000 cavalrymen and advanced north on three different routes, aiming at each of the three federations. Cavalry units commanded by chieftains of each of the three federations almost annihilated the invading forces. Eighty percent of the troops were killed and the three officers, who only brought tens of men safely back, were relieved from their posts.

The Hou Hanshu records a memorial submitted in 177 AD:

Ever since the [northern] Xiongnu ran away, the Xianbei have become powerful and populous, taking all the lands previously held by the Xiong-nu and claiming to have 100,000 warriors. … Refined metals and wrought iron have come into the possession of the [Xianbei] rebels. Han deserters also seek refuge [in the lands of the Xianbei] and serve as their advisers. Their weapons are sharper and their horses are faster than those of the Xiong-nu.

Another memorial submitted in 185 AD is recorded by the Hou Hanshu:

The Xianbei people … invade our frontiers so frequently that hardly a year goes by in peace, and it is only when the trading season arrives that they come forward in submission. But in so doing they are only bent on gaining precious Chinese goods; it is not because they respect Chinese power or are grateful for Chinese generosity. As soon as they obtain all they possibly can [from trade], they turn in their tracks to start wreaking damage.

Tanshihuai died in 181 at the age of 40. The Xianbei state of Tanshihuai fragmented following the fall of Budugen (reigned 187-234), who was the younger brother of Kuitoi (reigned 185-187). Kuitou was the nephew of Tanshihuai's incapable son and successor Helian (reigned 181-185).

The 3rd century AD saw both the fragmentation of the Xianbei Empire in 235 and the branching out of the various Xianbei tribes later to establish significant empires of their own. The most prominent branches are the Murong, Tuoba, Khitan, Shiwei and Rouran. These tribes spoke Mongolic (or Para-Mongolic) languages. The Murong tribe were descendants of the tribal division ruled by Murong, the Xianbei chief of the central section under Tanshihuai. Murong Mohuba actively supported Sima Yi's Liaodong campaign in 238, leading an auxiliary Murong force. Mohuba was succeeded in 246 by his son Muyan (木延) who also aided the Cao Wei campaign against the Goguryeo that same year. The Former Yan (337-370), Western Yan (384-394), Later Yan (384-409) dynasties as well as the Tuyuhun Kingdom (285-670) were all later founded by the Murong. The Tuoba (Tabgach) tribe started their rise with Tuoba Liwei (219-277) who was the ancestor of the future Northern Wei Dynasty and was thus posthumously honored as Emperor Shenyuan, with the temple name Shizu. The Khitan tribe formed part of the Yuwen Xianbei under Yuwen Mohuai (reigned 260-293). They separated from the Yuwen along with the Kumo Xi in 344 and finally separated from the Kumo Xi in 388 beginning their independent history. The Khitan later established the Dahe Confederation (618-730), the Yaonian Khaganate (730-906), the Liao Dynasty (907-1125) and the Kara-Khitan Khanate (1124–1218). The Shiwei tribe, like the Tuoba, were originally located to the north of the Murong and Khitan. While the Tuoba migrated south and established the State of Dai (310-376) and Northern Wei dynasty (386-534) the Shiwei remained in the north but eventually paid tribute to the Northern Wei (for example the Wuluohu sub-tribe started paying tribute in 444). Known also as the Tatars the Shiwei would later establish the Khamag Mongol Khanate (1125–1206), the Mongol Empire (1206–1368), the Northern Yuan Dynasty (1368–1635) and the Zungar Empire (1640–1756). The Rouran tribe remained in Outer Mongolia after the fragmentation of the Xianbei Empire. Yujiuliu Muguliu (reigned early 4th century) was the first ancestor of the Rouran khagans. Yujiuliu Shelun was the first major steppe leader to use the title “Khagan” in 402. The Rouran (also called Jujuan, Juanjuan and Nirun) are sometimes equated with the Avars. The Avar khagan Bayan I has both a Mongol name (meaning 'rich') and title. The Göktürks relentlessly pursued the Rouran (whose subjects they formerly were) west all the way to Crimea in the 550's-570's.

The Xianbei were descendants of the Donghu, which used to be believed to represent the “Eastern Hu” based on the Chinese record. Now most Chinese historians believe that Donghu by itself was an ethnonym, rather than having derived from their location on the east of the Xiongnu. Whereas Donghu was a Chinese transcription, the Mongolian reference was “Tünghu”.^[2] Later they migrated south and westward into areas of the modern Chinese provinces of Shanxi, Shaanxi, Gansu, Qinghai, Hebei, Inner Mongolia, and Liaoning. Possibly some Xianbei groups also lived in ancient Eastern Heilongjiang or Hulun Manchu Imperial province,^[3] currently Khabarovsk and Amur regions in the Russian Far East.

Figure of a Xianbei warrior from the Northern Dynasties (286-581 AD) era

Language[link]

It is generally accepted that the Shiwei branch of the Xianbei spoke a Mongolic language. The core Borjigid Mongols of Genghis Khan are the Mengwu Shiwei. The Proto-Mongolic language, archaic features of 13th century written Mongolian as well as Mongolic loanwords in Old Turkic reflect the early Shiwei language. The Khitan language, a Mongolic language, has several closed systems of lexical items for which systematic information is available and which show that the language was Mongolic. These include seasons, numbers, animals, directions and natural objects. The fact that these two major Xianbei branches spoke Mongolic is enough for some to acknowledge that the Xianbei spoke Mongolic. Two more branches showing evidence of being Mongolic are the Murong (included in the core of the Xianbei during Tanshihuai's reign) and the Tuoba. According to the Dunhuang Documents (P. 1283, in Tibetan) the "language of the Khitan and that of the Tuyuhun could generally communicate with each other". This shows that the Murong spoke a language closely related to Khitan. The earliest attestation of the Mongolic title 'Khagan' is among the Murong Xianbei between 283 to 289. The Mongolic word 'Agan' (elder brother) is also attestable from a Murong Xianbei song composed in 285. Many Tuoba words are Mongolic such as holan (many), eulen (cloud), ezhen (owner), akan (brother), shilu (high mountain), chino (wolf), kapagchin (doorkeeper), tapagchin (infantryman), bitigchin (scribe), kelmorchin (interpreter), sagdagchin (quiver-bearer), qitgaichin (executioner), portogchin (post-office clerk) and tawusun (dust). Of these the most important is the Tuoba word for cloud 'eulen' (Pinyin: youlian) which is not only exclusively Mongolic (i.e. not found in Turkic or Tungusic) but can also be directly compared to the Khitan word for cloud (eu.ul) and the Shiwei word for cloud (e'ule). This makes possible an accurate reconstruction of the Xianbei word for cloud as spoken in the time of Tanshihuai (141-181) and before. These four important branches, the Shiwei, Khitan, Murong and Tuoba all arose as discernible entities in the middle of the 3rd century just after the Xianbei Empire had fallen in 235. They were continuations of the original Xianbei populations. The fact that the Rouran branch of the Xianbei used the title 'Khagan' independently of the Murong shows their close continuity with the early Xianbei. Certain words and names of the Rouran also indicate a Mongolic identity. The fact that the Weishu states the Kumo Xi spoke the same language as the Khitan and that the Hou Hanshu states the Wuhuan spoke the same language as the Xianbei indicate relative linguistic homogeneity within the Xianbei and a common Mongolic identity of the Wuhuan and Xianbei as remnants of the Donghu confederation.

Dynasties[link]

During the Sixteen Kingdoms (304-439) period, the Xianbei founded six kingdoms in China proper, including the Former Yan (281-370), Western Yan (384-394), Later Yan (384-407), Southern Yan (398-410), Western Qin (385-430) and Southern Liang (397-414). Most of them were unified by the Tuoba Xianbei, who established the Northern Wei (386-535), which was the first of the Northern Dynasties (386-581) founded by the Xianbei.^[4][5][6]

Xianbei belt buckles, 3-4th century CE

Ruan Xian, Seven Sages of the Bamboo Grove, had a Xianbei slave who gave birth to his son, Ruan Fu.^[7]

In 534, the Northern Wei split into an Eastern Wei (534-550) and a Western Wei (535-556). The former evolved into the Northern Qi (550-577), and the latter into the Northern Zhou (557-581), while the Southern Dynasties were pushed to the south of the Yangtze River. In 581, the Prime Minister of Northern Zhou, Yang Jian, founded the Sui Dynasty (581-618). His son, the future emperor Yang Guang, annihilated the Southern Chen (557-589), the last kingdom of the Southern Dynasties, thereby unifying northern and southern China. After the Sui came to an end amidst peasant rebellions and renegade troops, his cousin, Li Shimin, founded the Tang Dynasty (618-907); Li led China to develop into one of the most prosperous states in history. Sui and Tang dynasties were founded by Han Chinese generals who also served the Northern Wei Dynasty.^[8][9] Through these political establishments, the Xianbei who entered China were largely merged with the Han, examples such as the wife of Emperor Gaozu of Tang, Duchess Dou and Emperor Taizong of Tang's (Li Shimin's) wife, Empress Zhangsun, both have Xianbei ancestries,^[10] while those who remained behind in the northern grassland emerged as later powers to rule over China.

Modern descendants[link]

The ancestries of the Mongols can be traced back to a branch of the Xianbei called the Mengwu Shiwei.

Today the "Monguor" as known in the West and as “Tu Zu”^{[citation needed]} in China may have descended from the Xianbei who were led by Tuyuhun Khan to migrate westward and establish the Tuyuhun Kingdom (284-670) in the third century and Western Xia (1038–1227) through the thirteenth century.^[11] Today they are primarily distributed in Qinghai and Gansu Province, and speak an Altaic Mongolic language. The multi-ethnic environment and relative distant distribution in the northwest, detached from the political centers of China, have enabled them to preserve their language and culture until the present times.

The Xibe or "Xi Bo" people also believed themselves to be descendants of the Xianbei, with considerable controversies that have attributed their origins to the Jurchens, the Elunchun, and the Xianbei.^[12][13] Since they were historically referred to as "Suolun people" and spoke Tungus rather than Mongolic language, they may have derived their origins from one or more fractions of the Xianbei or other ethnic groups subjugated by the Xianbei. While most of the Xianbei went south and westward to establish different empires, they remained behind in Manchuria until subjugated by the Jurchens who moved southward from the Tungus Plains in Eastern Russia.

See also[link]

• Change of Xianbei names to Han names
• Xianbei state
• Tribes in Chinese history
• Wu Hu
• Sixteen Kingdoms
• Wuhuan
• Northern Wei Dynasty
• Chinese sovereign
• Bu Dugen
• Kebineng

Notes[link]

References[link]

• Hanshu
• Sanguozhi

External links[link]

• 鮮卑語言The Xianbei language(Chinese Traditional Big5 code page) via Internet Archive

Jay Chou
Chou on the red carpet at the MTV Asia Aid, Bangkok, Thailand, 2005
Chinese name	周杰倫 (Traditional)
Chinese name	周杰伦 (Simplified)
Pinyin	Zhōu Jiélún (Mandarin)
Origin	Taiwan
Born	(1979-01-18) 18 January 1979 (age 33) Linkou, Taipei County, Taiwan
Other name(s)	Director Chou (周董)
Occupation	Singer-songwriter, composer, record producer, rapper, DJ, music video director, film director, music arranger, model, screenwriter, actor
Genre(s)	Pop, rock, R&B, hip pop
Instrument(s)	Vocals, guitar, bass, piano, violin, cello, drums, guzheng, keyboards, pipa, erhu, harmonica
Voice type(s)	tenor
Label(s)	Sony Music Taiwan (2008–present) JVR Music (2007–present) Alfa Music (1999–2007)
Years active	2000–present
Parents	Father: Zhou Yaozhong (周耀中) Mother: Ye Huimei (葉惠美)
Influenced	Nan Quan Mama
Official Website	Jay Chou@JVR Music
Awards Hong Kong Film Awards Best New Performer 2006 Initial D Best Original Film Song 2007 "Chrysanthemum Terrace" (Curse of the Golden Flower) Golden Horse Awards Best Newcomer 2005 Initial D Outstanding Taiwanese Film of the Year 2007 Secret Best Original Song 2007 "The Secret That Cannot Be Told" (Secret) Golden Melody Awards Best Mandarin Album 2001 Jay 2002 Fantasy 2004 Ye Hui Mei 2011 The Era Best Music Video 2009 "Mr. Magic" (Capricorn) Best Song of the Year 2008 "Blue and White Porcelain" (On the Run) 2009 "Fragrant Rice" (Capricorn) Best Composer 2002 "Love Before A.D." (Fantasy)[1] 2008 "Blue and White Porcelain" (On the Run) Best Producer 2002 Fantasy Best Single Producer 2007 Fearless EP Best Male Mandarin Artist 2009 Capricorn 2011 The Era Best Composer (Instrumental Category) 2008 "Piano Room" (Secret) Best Producer (Instrumental Category) 2008 Secret Original Movie Soundtrack (Secret) MTV Asia Awards Favorite Artist, Taiwan 2002, 2005 Other awards World Music Awards Best-Selling Chinese-Speaking Artist 2004, 2006, 2007, 2008 Shanghai Film Critics Awards 2007 Best Actor (Curse of the Golden Flower)

This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters.

Jay Chou; (born 18 January 1979)^[2] is a Taiwanese musician, singer-songwriter, music and film producer, actor and director. In 1998 he was discovered in a talent contest where he displayed his piano and song-writing skills. Over the next two years, he was hired to compose for popular Mandarin singers. Although he was trained in classical music, Chou combines Chinese and Western music styles to produce songs that fuse R&B, rock and pop genres. He composes all his own songs, as well as songs for other singers.

In 2000, Chou released his first album, titled Jay, under the record company Alfa Music. Since then he has released one album per year except in 2009, selling several million copies each. His music has gained recognition throughout Asia, most notably in regions such as Taiwan, China, Hong Kong, Japan, Malaysia, Indonesia, India, Singapore, Thailand, Vietnam and in overseas Asian communities. He has sold more than 28 million albums worldwide up to 2010.^[3] He debuted his acting career in Initial D (2005), for which he won Best Newcomer Actor in both the Hong Kong Film Awards and the Golden Horse Awards, and was nominated for Best Supporting Actor by Hong Kong Film Awards for his role in Curse of the Golden Flower (2006). He produced the theme song for the film Ocean Heaven starring Jet Li. His career now extends into directing and running his own record company JVR Music.

Career[link]

Jay Chou at the premiere of Secret in Seoul, South Korea, on 10 January 2008.

Jay Chou grew up in Linkou, Taipei County, Taiwan.^[4] Both his parents were secondary school teachers: his mother, Ye Hui Mei (Chinese: 葉惠美; pinyin: Yè Huìměi), taught fine arts, while his father, Zhou Yao Zhong (Chinese: 周耀中; pinyin: Zhōu Yàozhōng), was a biomedical researcher. His mother noticed his sensitivity to music and took him to piano lessons at the age of three.^[4] During his childhood, he was fascinated with capturing sounds and songs with his tape recorder, which he carried everywhere with him. In the third grade, he became interested in music theory and also started cello lessons. He is an only child and loved to play piano, imitate TV actors, and perform magic tricks. His favorite composer was, and still is to this day, Chopin. His parents divorced when he was 13, which caused him to become reclusive and introverted. Although he had friends, he often preferred to be alone, listening to music, contemplating and daydreaming. At Tamkang Senior High School, he majored in piano and minored in cello. He showed talent for improvisation, became fond of pop music and began to write songs.^[5][6]

Chou graduated from high school with inadequate grades for university, so he prepared for mandatory military service. However, a sports injury triggered by an unexplainable and severe back pain eventually led to the diagnosis of ankylosing spondylitis, a hereditary spine inflammation disease; as a result, he was exempted from conscription.^[7][8] Meanwhile, he found himself a job as a waiter. Without his knowing, his friend had entered both their names in a talent show called Super New Talent King. Chou played the piano accompaniment for his friend, whose singing was described as "lousy". Although they did not win, the show's host Jacky Wu—an influential character in Taiwan's entertainment business—happened to glance at Chou's music score and was impressed with its complexity. Wu hired him as a contract composer and paired him with the novice lyricist Vincent Fang.^[6]

Over the next two years he wrote songs for Mandarin pop artists, and also learned recording and sound mixing; his dedication was apparent as he even slept in the music studio. Wu's music studio was later sold to Alfa Music, and the new manager Yang Jun Rong asked him to release his own album. Chou already had an arsenal of songs he wrote for others but had been rejected, so among those he chose 10 for his debut CD Jay that was released in 2000. The album established his reputation as a musically gifted singer-songwriter whose style is a fusion of R&B, rap, classical music, and yet distinctly Chinese. His fame spread quickly in Chinese-speaking regions including countries throughout Southeast Asia.^[9][10][11] Since 2000, Chou has released one album per year, except the year 2009, each selling several million copies, and has been recognized with hundreds of awards.^[12] In 2003, he was the cover story of Time magazine (Asia version),^[6] acknowledging his influence on popular culture. He has held four world tours, "The One" (2002), "Incomparable" (2004), "Jay Chou The World Tours" (2007–2008) and "The Era" (2010–2011) performing in cities such as Taipei, Tokyo, Hong Kong, Beijing, Kuala Lumpur, Singapore, Las Vegas, Toronto and Vancouver. Unlike most singers, Chou has an enormous amount of creative control over his music.^[6] He is not only the songwriter but also the producer on all of his albums; since 2005 he is also the music director and also directs his own music videos.

Music[link]

Musical style[link]

	"Chrysanthemum Terrace" (菊花台) noicon An example of Chou using Chinese style music. "Nunchucks" (雙截棍) noicon A combination of Chinese style music and rap.
Problems listening to these files? See media help.

Chou's compositions are loosely categorized as pop music. While many of his works fall into contemporary R&B, rap, and rock genres, the term "Chou Style" (Chinese: 周氏風格; pinyin: zhōu shì fēnggé)^[13][14] has been popularized to describe his trademark cross-cultural music and his insistence on singing with slurred enunciation. Taipei Times once described the meaning of "Chou Style": "In what has become the archetypal Chou style, Taiwan's favorite son blends pop, rap, blues and a smorgasbord of esthetic elements of world music to create his dream-like never-never land ..."^[15]

He regularly fuses traditional Chinese instruments and styles with R&B or rock to form a new genre called "Zhongguo feng" (simplified Chinese: 中国风; traditional Chinese: 中國風; pinyin: Zhōngguó fēng), which literally means "Chinese Style Music",^[a] some of which are written in the Pentatonic Scale as opposed to the more common seven-note scale (Diatonic Scale) to accentuate an oriental style. Besides his own culture, he also incorporated Spanish guitar in "Red Imitation" (Chinese: 紅模仿; pinyin: hóng mófǎng), American techno/electronica in "Herbalist's Manual" (Chinese: 本草綱目; pinyin: Běncǎo Gāngmù), rap with subtle classical music undertones in "Reverse Scales" (Chinese: 逆鱗; pinyin: nìlín), Blues style in "Free Tutorial Video" (Chinese: 免費教學錄影帶; pinyin: Mian Fei Jiao Xue Lu Ying Dai) and Bossanova style in "Rosemary" (Chinese: 迷迭香; pinyin: mídiéxiāng), to name a few. Sound effects from everyday life are frequently woven into his music, such as bouncing ping pong balls, touch tone phone dialing, helicopter blades, dripping rain, and radio static noise (concrete music).^[b]

His formal musical training is evident by the use of classical textures in his compositions. For example, counterpoint was used in "Perfection" (Chinese: 完美主義; pinyin: wánměizhǔyì) and "Sorry" (Chinese: 對不起; pinyin: duìbuqǐ), while polyphony can be found in "The Wound That Ends War" (Chinese: 止戰之殤; pinyin: zhǐ zhàn zhī shāng) and "Twilight's Chapter Seven" (Chinese: 夜的第七章; pinyin: yè de dì-qī zhāng).

Chou's albums have been noted for the lack of change compared to his earlier works, yet he firmly stated that he will not alter his style: "They say I've been standing still ... but this is the music I want, and I don't see what I want by moving ahead."^[16] To demonstrate his point, he named his 2006 album Still Fantasy after his 2001 album Fantasy. His use of relaxed enunciation has been criticized as "mumbling"^[17] which he also insisted will not change;^[18] however, recently he has adopted clearer pronunciation for certain songs, particularly more traditional Chinese style songs, such as "Faraway" (Chinese: 千里之外; pinyin: qiānlǐ zhīwài) which features Fei Yu-ching and "Chrysanthemum Terrace" (Chinese: 菊花台; pinyin: júhuā tái).^[19]

Lyrics[link]

Chou is more often a singer-composer than a lyricist. Several "regulars" write the lyrics for most of his music, but the content and style is unified with his own personality and image, covering a diverse range of topics and ideas. Vincent Fang accounts for more than half of the lyrics in his albums, helping to establish an important element in Chou's music: the use of meaningful, imagery- and emotionally rich lyrics, sometimes written in the form of ancient Chinese poetry with reference to Chinese history or folklore.^[c] In addition to writing romantic hits,^[d] he also touches on war, the Bible, sports, and martial arts.^[e] Vivian Hsu is a singer herself and has helped with Chou's earlier hits,^[f] while Huang Jun Lang (Chinese: 黃俊郎; pinyin: Huáng Jùnláng) is noted for his work surrounding unusual themes (such as a detective story and chess game).^[g]

Chou himself has written lyrics for many ballads,^[h] but has also discussed societal ills such as drug addiction in "Coward" (Chinese: 懦夫; pinyin: nuòfū) and loss of the rural countryside to urbanization in "Terrace fields" (Chinese: 梯田; pinyin: tītián). Domestic violence discussed in "Dad, I am back" (Chinese: 爸,我回來了; pinyin: bà, wǒ huílai le) received a great deal of commotion since he was the first to bring up this taboo subject in Sanscript music,^[20] which helped solidify his status as a pioneer and a unique pop singer capable of approaching serious issues. In the songs "Maternal grandmother" (Chinese: 外婆; pinyin: wàipó) and "Listen to Mother" (Chinese: 聽媽媽的話; pinyin: tīng māma de huà), he voiced his high regard for family values. He addressed personal issues about his failure to enter university in "Split" (Chinese: 分裂; pinyin: fēnliè), his resentment towards the paparazzi in "Besieged From All Sides" (Chinese: 四面楚歌; pinyin: sìmiànchǔgē), "Rice Fragrance" (Chinese: 稻香; pinyin: dào xiāng), a song from his 9th album Capricorn encourages people not to give up their dreams even when facing difficulties in life, the sadness of becoming a clown in "Uncle Joker"(Chinese: 喬克叔叔; pinyin: Qiao Ke Shu Shu) and highlighted the importance of individuality in "Popular Imitation" (Chinese: 紅模仿; pinyin: hóng mófǎng).

Collaborations[link]

Chou began as a songwriter for other singers and continued this area of work even after he debuted his own career in singing. He has composed frequently for Jolin Tsai, Landy Wen, and occasionally for other Taiwanese singers such as Coco Lee, S.H.E, Vivian Hsu, Leehom Wang, Will Liu, Valen Hsu, and Hong Kong pop stars Edmond Leung, Gigi Leung, Jordan Chan, Edison Chen, Karen Mok, Leo Ku, Eason Chan, and Joey Yung, as well as a one-time collaboration with Howard Su. He has also written for singers outside of his generation—over one dozen songs for his mentor Jacky Wu, later also for Taiwanese singer Jody Chiang, and Hong Kong singers Jacky Cheung, Andy Lau, Aaron Kwok, and Kenny Bee.^{[21][22][23][24]}

He initiated the band Nan Quan Mama in 2004, selecting band members and overseeing their album production. The group has been noted for sounding too similar to their mentor;^[25] as a result, Chou has reduced his involvement in the band,^[26] but continues to help increase their exposure to mass audiences by inviting them as guests performers for his own concerts and music videos.^{[27][28][29][30]}

He has performed live duets with Landy Wen,^[28] Jolin Tsai,^[31] and former girlfriend news anchor Patty Hou,^[32] but only two studio recordings of duets have been formally placed in his own albums: "Coral Sea" (Chinese: 珊瑚海; pinyin: shānhú hǎi) in 2005 with Lara Veronin (of Nan Quan Mama)^[33] and "Faraway" (Chinese: 千里之外; pinyin: qiānlǐ zhīwài) in 2006 features Fei Yu-Ching, who began his career in the 1970s.^[34]

Besides working with singers, Chou's longest-running collaboration is with lyricist Vincent Fang, as they both started their careers in the music field in 1998. The compilation album Partners (Chinese: 拍檔; pinyin: pāi dàng) featured 12 songs, each consisting of Chou's musical and Fang's lyrical compositions.^[35] Fang has written the words to more than 40 of Chou's songs, was the chief editor of Chou's book Grandeur de D Major (Chinese: D調的華麗; pinyin: D diào de huálì), and is now Chou's business partner (together with Chou's manager JR Yang) for the record company JVR Music.^[36][37]

Jay Chou was also featured in Cindy Yen's (袁詠琳) song "Sand Painting" (畫沙) released in October 2009.

Jay Chou collaborated with Kobe Bryant on "The Heaven and Earth Challenge"(天地一鬥) in order to "promote youth creativity, as well as an upcoming slam-dunk competition in China." The song was released at a press conference before the NBA All-Star Game on 20 February 2011.^[38]

World tours[link]

Jay Chou's 3D enhanced stage at his Singapore concert in 2010, as part of his The Era World Tour

Jay held his first series of five solo concerts, titled Fantasy Concert (范特西演唱會), with the first stop on 11 January 2001 at Taoyuan Arena, Taiwan. Followed by two shows at the Hong Kong Coliseum, one in Malaysia and ended in Singapore on 10 February 2002. His second concert tour, The One Concert (The One 演唱會) commenced on 28 September 2002 at Taipei Municipal Stadium, followed by 11 stops and ended at Shenzhen Stadium, China on 3 January 2004.

Two more series of world tours followed: Incomparable Concert (無與倫比演唱會) in 2004 and Jay Chou 2007 World Tours (2007世界巡迴演唱會), with stops in cities such as Taipei, Tokyo, Hong Kong, Beijing, Kuala Lumpur, Singapore, Las Vegas, Toronto and Vancouver. In 2010, to celebrate Jay's 10 year career in the entertainment industry, he embarked on his fifth series of concert tour titled, New Era World Tour (超時代演唱會), with the first stop of three concerts from 11 to 13 June 2010 at Taipei Arena, followed by 24 stops ending in Malaysia on 5 March 2011.

World tours/Live (DVD) album releases

• 2001 – Fantasy Concert (范特西演唱會)
• 2002 – The One Concert (The One 演唱會) – Jay Chou The One Concert Live
• 2004 – Incomparable Concert (無與倫比演唱會) – Incomparable Jay Concert Live
• 2007 – Jay Chou World Tours (世界巡迴演唱會) – Jay Chou 2007 the World Tours Concert Live
• 2010 – New Era World Tour (超時代演唱會) – Jay Chou 2010 The Era World Tours Concert Live

Other works[link]

Movie career[link]

Chou formally entered the film industry in 2005 with the release of the movie Initial D (頭文字Ｄ). He has since acted in three other movies, directed one film and more than a dozen music videos. Chou, who once said "I live because of music",^[39] ventured into movies because he felt the need for a new challenge. As fans have grown concerned that movies will compromise his music career, Chou has repeatedly reassured that movies are a source of inspiration and not a distraction; at the same time, he realizes the need to balance both careers and maintain his place in the music field to garner the continued support of fans.^{[40][41][42][43]}

Acting[link]

Jay Chou at a promotional event for Kung Fu Dunk in January 2008

Entry into acting was an unexpected move for Chou.^[41] His high school English teacher thought he was capable of very few facial expressions,^[6] and the director of Hidden Track (2003, a movie in which Chou had a cameo role) said that his strong individualistic personality will not make him a good actor.^[44] In 2005, Chou's first role as the lead actor in Initial D served two purposes: to launch his acting debut, and to increase his exposure to Japanese audiences.^[45] This film is based on the Japanese comic Initial D, where Chou played Takumi Fujiwara, a gifted touge racer who is quiet and rarely shows expression. Some reviewers criticized his bland acting^[46] while others felt he performed naturally, but only because the character’s personality closely mirrored his own.^[47][48] His performance in Initial D won him Best Newcomer Actor in Golden Horse Awards and Hong Kong Film Awards.^[49][50] Chou’s second film was Curse of the Golden Flower (2006). As a supporting character, he drew much of the attention of Chinese reporters; Chou’s involvement in this movie was announced in its own press conference,^[51] separate from the meeting held for Chow Yun-fat, Gong Li, and the other actors. Chou portrayed Prince Jai, the ambitious second eldest prince and general of the Imperial army whose personality epitomizes Xiao (孝), the Chinese virtue of filial piety. In this internationally released film, North American audiences saw Chou for the first time. According to Chinese movie critics, comments about his acting ranged from "lacks complexity"^[52] to "acceptable,"^[53][54] but was critically praised by Western reviewers.^{[55][56][57][58][59]} His performance in Curse of the Golden Flower was nominated Best Supporting Actor in the Hong Kong Film Awards.^[60] In the 2008 film Kung Fu Dunk, Chou portrayed a kung fu student and dunking prodigy, and the film earned over ¥100 million (US$14.7 million).^[61] Chou portrayed Kato in The Green Hornet, directed by Michel Gondry and released in January 2011, after Hong Kong actor Stephen Chow withdrew from the project; the film grossed over $228 million worldwide.^[62] MTV Networks' NextMovie.com named him one of the 'Breakout Stars to Watch for in 2011'.^[63] In May 2011, Chou started filming for a new movie, The Viral Factor directed by Dante Lam and starred various well known artistes such as Nicholas Tse, Bai Bing and Lin Peng. The movie was released in theatres over Asia on 17 January 2012. With most of the scenes shot in the Middle Eastern and Southeast Asian countries, earlier filming process has been slightly disrupted due to political conflicts in the Middle East. In 2012, Jay Chou announced that he has started the filming process to the sequel of his directorial debut "不能说的秘密" (Secret/A Secret That Cannot Be Told), collaborating with his lifelong friend, 刘畊宏/Will Liu. It has been tentatively being named as "不能说的秘密2" (Secret 2/A Secret That Cannot Be Told 2) and is expected to be released in 2013.

Directing[link]

Chou acquired his first directing experience in 2004 through music videos. He initially experimented with a song by the group Nan Quan Mama titled "Home" (Chinese: 家; pinyin: jiā) where he was involved throughout the entire process from research to editing. After learning the difficulties of being a director, he refused to direct again even at the request of his record company.^[64] However, his interest resurfaced again as he directed music videos for 4 of the 12 songs in own album November's Chopin in 2005,^[65] and later television advertisements.^[66][67] By 2006, he had taken responsibility for the storyboard, directing, and editing of music videos for all his songs.^[40] It is unclear how the public appraises his work, since music videos are rarely the subject of critical review; however, director Zhang Yimou said that Chou's directing abilities may surpass his own in the future, after viewing several of Chou's music videos.^[51][68]

In February 2007, Chou finally directed his first movie Secret. The story he wrote is based loosely on his relationship with a high school girlfriend, with a plot focused on music, love, and family.^[69] He stars as the lead actor of the film with Kwai Lun-Mei‎ as the female lead, and Hong Kong veteran actor Anthony Wong as Chou’s father. Despite previous experience in filming music videos, Chou admits that movies are more challenging due to storyline and time constraints.^[69] This movie was released in July 2007.^[70]

In 2005, Jay Chou played the male lead in Initial D, and according to reports, he will be back to direct the sequel, while Andrew Lau, who was a co-director of the first Initial D, will take on the role of the producer.^[71]

[edit] Book: Grandeur de D Major

Chou published his first book titled Grandeur de D Major (simplified Chinese: D调的华丽; traditional Chinese: D調的華麗; pinyin: D diào de huálì) on 25 November 2004.^[k] This 200-page book features a prologue written by his family, friends, and co-workers; the main section is a compilation of his personal attitudes, philosophies, and recollections of childhood experiences along with pictures from his music videos, many of which have never been released; and lastly, a list of the artist's major awards, musical and lyrical compositions, and discography. For the usually low-profile singer, this book revealed his personality and convictions that has served as the basis of his musical and public image. He demonstrated a strong appreciation of family values with an especially deep connection with his mother and maternal grandmother. His confidence and dedication towards music is evident as he dedicated 2 out of 7 chapters to music: the current state of the industry, his composition methodology, and the importance of individualism to his success in music. This pride is contrasted against his modesty and self-assessed naivety about many aspects in life, particularly regarding relationships and marriage.

Endorsements[link]

Chou has been a spokesperson for popular brands such as Pepsi (2002–2007), Panasonic (2001–2005), Motorola (since 2006), M-Zone/China Mobile (since 2003), Levi's (2004–2005), Deerhui (sporting goods, since 2003), Metersbonwe Group (casual wear, since 2003), Colgate (2004–2005), popular computer game Warcraft III: Reign of Chaos (2002), and science and nature magazine National Geographic (2005).^[72][73] To maximize the celebrity branding effect, advertisements are nearly always linked to his music and TV commercials are occasionally directed by him.^[66][67] He acted as the tourism ambassador for Malaysia in 2003.^[74][75] In April 2008, Jay signed with Sprite and collaborated with artistes such as Angela Chang and JJ Lin in commercials. He also did a Sprite commercial with Kobe Bryant and specially wrote a song named "天地一斗 (Battle of the Incomparable)" featuring Kobe Bryant for the commercial. In June 2011, Jay expanded his area of endorsement into the field of technology, becoming the designer and spokesperson of the "N43SL Jay Chou Edition" laptop of ASUS Computers. The laptop is most notable for its lid design, sound system, start-up and shut-down tones, and a unique 'J' font for its key. All of which, except for the sound system, are designed and composed by Jay himself.

Accolades[link]

From the launch of his music career in 2000, Jay Chou has won more than 350 singer, singer-songwriter, and producer awards in Asia.^[12] The highly coveted Golden Melody Awards in Taiwan^[j] awarded "Best Album" for his debut CD Jay (2000) in 2001, and five awards (including "Best Album", "Best Composer", and "Best Producer") in the following year for the album Fantasy (2001). However, failure to win "Best Album" for three consecutive years has left him disheartened with award ceremonies. Although he continues to win more than 20 awards per year from various organizations in Asia, Chou has stated he will rely more on album sales as an indicator of his music's quality and popularity.^[76] In 2004, 2006, 2007 and 2008, he was awarded Best-Selling Artist in Taiwan by World Music Awards for the albums Common Jasmin Orange, Still Fantasy and On the Run.^[77]

Media and public relations[link]

Public image[link]

Chou's 2007 tour outfit exhibited at the Hard Rock Cafe 40th anniversary tour in Seattle, 2011

Despite living under continual media scrutiny, Chou's public image has changed little over the years as he emphasizes individuality as his "personal philosophy".^[6][78] In his music, this is also evident as he fuses Chinese and Western styles and explores topics unconventional for a pop singer, which have been described as "authentic" and "revolutionary".^[6][10][11] The media describes a hard-working^[79] perfectionist^[6] with clear self-direction^[80] who is occasionally regarded as competitive^[81] and a "control freak".^[6] There is a misunderstanding about his nickname "Chairman Chou" (Chinese: 周董; pinyin: Zhōu dǒng), used by both the press and fans to underscore his domineering personality and impact on Asian music,^[82] but also points at his musical talent.^[20][79] Yet the origin of this nickname emerges from his fever of collecting antiques as the word "董" comes from "antique" in Chinese (古董). Outside of music, Chou is reported as shy, quiet,^[80][83] modest, and views filial piety as "the most important thing".^[84] In-line with his aim to present a positive image,^[16] he is a non-smoker, non-drinker, and does not go to nightclubs.^[85] Government officials and educators in Asia have awarded him for his exemplary behaviour,^[86] designated him a spokesperson in the youth-empowerment project "Young Voice" in 2005 and an anti-depression campaign in 2007,^[87][88] His lyrics for two songs^[i] has been incorporated into the school syllabus to inspire motivational and filial attitudes.^{[89][90][91][92]} In November 2007, Chou was criticized for attending the funeral of Taiwanese gang leader Chen Chi-li to console Chen's son Baron Chen, whom Chou met while filming Kung Fu Dunk.^[93][94][95] In 2011 Chou performed on the New Year's Gala program on China's Central Television.^[96]

Response to the news media and paparazzi[link]

As with other stars, Chou has expressed a strong dislike of the paparazzi. In the early years of his career, unwanted attention by the media was usually dealt with by avoidance. In-line with his quiet nature, he frequently wore baseball caps and hoods while lowering his head and evading eye contact during interviews.^[83] In recent years however, he has been less passive about the invasion of his privacy. To discourage the paparazzi from taking unsolicited pictures, Chou is known to photograph the paparazzi that follow him.^[97] He openly calls the paparazzi "dogs" and tabloids "dog magazines", as shown in his lyrics for "Besieged From All Sides" (Chinese: 四面楚歌; pinyin: sìmiànchǔgē). The media have also accused Chou of evading compulsory military service^[98] by feigning to suffer from ankylosing spondylitis. Later that year he was acquitted after providing the relevant medical records and letters from the army confirming a lawful exemption from draft dated before the start of his music career.^[99]

Despite constant harassment and stalking by the media, he does acknowledge that not all media attention is unwelcome.^[100] Coverage by international journals and news agencies such as Time,^[6] The Guardian,^[101] and Reuters^[78] help ascertain his influence on mainstream culture. An editorial written by Kerry Brown of Chatham House named Chou as one of the 50 most influential figures in China, one of only three singers on a list dominated by politicians and corporate owners.^[102] At the end of 2009, he was included on JWT's annual list of 100 Things to Watch in 2010.^[103]

Fanbase[link]

Chou's wax statue at Madame Tussauds Hong Kong

It is difficult to estimate the size and global spread of Chou's fanbase. Jay's fanbase originated from Taiwan, his country, and grew extensively to other mandarin-speaking nations. The Chinese-speaking populations of Hong Kong, Macau, Singapore, Malaysia and China make up a significant percentage of Chou's fans. Despite rampant piracy issues in this region of Asia, particularly in China, every album Chou has released so far has surpassed 2 million sales. According to Baidu, the most popular internet search engine in China, Chou is the number one searched male artist in 2002, 05, 06 and 07.^{[104][105][106][107]}

In Hong Kong, he has been the best-selling Mandarin speaking artist for the past 4 years.^[108] According to a 2004 survey in five Chinese urban centers for children ages 9 to 14, 1 in 6 named Chou as their favorite idol;^[109] he was also reported as the favorite singer of youths aged 8 to 25 in a study conducted in seven Asian countries (2006).^[110] He has a solid fanbase throughout Southeast Asia, including Singapore, Thailand, Malaysia, Indonesia, and Vietnam.^[110] In Singapore, Chou was the second most searched celebrity behind Britney Spears in the music category.^[111]

Currently, Chou remains largely unknown outside of Asia, except in cities with large Chinese speaking immigrant populations such as Los Angeles, New York, San Francisco, Seattle, Vancouver, Toronto, Sydney, Melbourne, Adelaide and Brisbane. He has held concerts in major venues such as the Acer Arena (Sydney – 3 July 2009), HP Pavilion at San Jose (San Jose – 31 December 2010), Los Angeles Memorial Sports Arena (Los Angeles – 8 January 2011), MGM Grand (Las Vegas—25 December 2002), Rogers Arena (Vancouver – 23 December 2010),^[6] Shrine Auditorium (Los Angeles—18 December 2004),^[112] Galen Center (Los Angeles—24 December 2007) and the Air Canada Centre (Toronto – 18 December 2008). His intention to increase his prominence in the Western world beyond Chinese audiences is clear. In 2006, Chou composed and sang the theme song for Fearless, a movie released in major theatres in most English-speaking countries,^[113] though the impact to his fame has been minimal. His role in Curse of the Golden Flower (limited release) marks his acting debut in North America. Despite having a supporting but important role in the story's plot, the North American version of the official posters only featured a view of his back, greatly contrasting the Asian versions where his face and name were clear and placed between the leading actor and actress. Although Chou is still far from being well known to English audiences, this movie has brought him international exposure. Chou gained further exposure to western audiences in his starring role as crimefighter Kato in January 2011's The Green Hornet.

Chou has won the Favorite Male Artist of the 20th Golden Melody Awards in Taiwan. He did not attend the event to collect the award because he was on tour in China at the time.

Discography[link]

• Jay (2000)
• Fantasy (2001)
• Eight Dimensions (2002)
• Ye Hui Mei (2003)
• Common Jasmin Orange (2004)
• November's Chopin (2005)
• Still Fantasy (2006)
• On the Run (2007)
• Capricorn (2008)
• The Era (2010)
• Exclamation Mark (2011)

Filmography[link]

Chou at the 2007 Shanghai Film Festival

Films[link]

Television series[link]

Notes[link]

References[link]