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Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the International Chopin Piano Competition, founded in 1927, is held every five years in Warsaw. The Fryderyk Chopin Institute of Poland lists on its website over eighty societies world-wide devoted to the composer and his music. The Institute site also lists nearly 1,500 performances of Chopin works on YouTube as of January 2014.
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In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding.
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Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.
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Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves (Op. 25, No. 10), and playing repeated notes (Op. 10, No. 7).
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In June 1837 Chopin visited London incognito in the company of the piano manufacturer Camille Pleyel where he played at a musical soirée at the house of English piano maker James Broadwood. On his return to Paris, his association with Sand began in earnest, and by the end of June 1838 they had become lovers. Sand, who was six years older than the composer, and who had had a series of lovers, wrote at this time: "I must say I was confused and amazed at the effect this little creature had on me ... I have still not recovered from my astonishment, and if I were a proud person I should be feeling humiliated at having been carried away ..." The two spent a miserable winter on Majorca (8 November 1838 to 13 February 1839), where, together with Sand's two children, they had journeyed in the hope of improving the health of Chopin and that of Sand's 15-year-old son Maurice, and also to escape the threats of Sand's former lover Félicien Mallefille. After discovering that the couple were not married, the deeply traditional Catholic people of Majorca became inhospitable, making accommodation difficult to find. This compelled the group to take lodgings in a former Carthusian monastery in Valldemossa, which gave little shelter from the cold winter weather.
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Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events. Chopin was written by Giacomo Orefice and produced in Milan in 1901. All the music is derived from that of Chopin.
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The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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According to Chen, the Ming officer of Hezhou (modern day Linxia) informed the Hongwu Emperor that the general situation in Dbus and Gtsang "was under control," and so he suggested to the emperor that he offer the second Phagmodru ruler, Jamyang Shakya Gyaltsen, an official title. According to the Records of the Founding Emperor, the Hongwu Emperor issued an edict granting the title "Initiation State Master" to Sagya Gyaincain, while the latter sent envoys to the Ming court to hand over his jade seal of authority along with tribute of colored silk and satin, statues of the Buddha, Buddhist scriptures, and sarira.
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Tibetan sources say Deshin Shekpa also persuaded the Yongle Emperor not to impose his military might on Tibet as the Mongols had previously done. Thinley writes that before the Karmapa returned to Tibet, the Yongle Emperor began planning to send a military force into Tibet to forcibly give the Karmapa authority over all the Tibetan Buddhist schools but Deshin Shekpa dissuaded him. However, Hok-Lam Chan states that "there is little evidence that this was ever the emperor's intention" and that evidence indicates that Deshin Skekpa was invited strictly for religious purposes.
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The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.
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When an ally of the Ü-Tsang ruler threatened destruction of the Gelugpas again, the fifth Dalai Lama Lozang Gyatso pleaded for help from the Mongol prince Güshi Khan (1582–1655), leader of the Khoshut (Qoshot) tribe of the Oirat Mongols, who was then on a pilgrimage to Lhasa. Güshi Khan accepted his role as protector, and from 1637–1640 he not only defeated the Gelugpas' enemies in the Amdo and Kham regions, but also resettled his entire tribe into Amdo. Sonam Chöpel urged Güshi Khan to assault the Ü-Tsang king's homebase of Shigatse, which Güshi Khan agreed upon, enlisting the aid of Gelug monks and supporters. In 1642, after a year's siege of Shigatse, the Ü-Tsang forces surrendered. Güshi Khan then captured and summarily executed Karma Tenkyong, the ruler of Ü-Tsang, King of Tibet.
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Chen Qingying, Professor of History and Director of the History Studies Institute under the China Tibetology Research Center in Beijing, writes that the Ming court conferred new official positions on ex-Yuan Tibetan leaders of the Phachu Kargyu and granted them lower-ranking positions. Of the county (zong or dzong) leaders of Neiwo Zong and Renbam Zong, Chen states that when "the Emperor learned the actual situation of the Phachu Kargyu, the Ming court then appointed the main Zong leaders to be senior officers of the Senior Command of Dbus and Gtsang." The official posts that the Ming court established in Tibet, such as senior and junior commanders, offices of Qianhu (in charge of 1,000 households), and offices of Wanhu (in charge of 10,000 households), were all hereditary positions according to Chen, but he asserts that "the succession of some important posts still had to be approved by the emperor," while old imperial mandates had to be returned to the Ming court for renewal.
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When the Dzungar Mongols attempted to spread their territory from what is now Xinjiang into Tibet, the Kangxi Emperor (r. 1661–1722) responded to Tibetan pleas for aid with his own expedition to Tibet, occupying Lhasa in 1720. By 1751, during the reign of the Qianlong Emperor (r. 1735–1796), a protectorate and permanent Qing dynasty garrison was established in Tibet. As of 1751, Albert Kolb writes that "Chinese claims to suzerainty over Tibet date from this time."
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Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.
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During his travels beginning in 1403, Deshin Shekpa was induced by further exhortations by the Ming court to visit Nanjing by April 10, 1407. Norbu writes that the Yongle Emperor, following the tradition of Mongol emperors and their reverence for the Sakya lamas, showed an enormous amount of deference towards Deshin Shekpa. The Yongle Emperor came out of the palace in Nanjing to greet the Karmapa and did not require him to kowtow like a tributary vassal. According to Karma Thinley, the emperor gave the Karmapa the place of honor at his left, and on a higher throne than his own. Rossabi and others describe a similar arrangement made by Kublai Khan and the Sakya Phagpa lama, writing that Kublai would "sit on a lower platform than the Tibetan cleric" when receiving religious instructions from him.
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Of the third Dalai Lama, China Daily states that the "Ming dynasty showed him special favor by allowing him to pay tribute." China Daily then says that Sonam Gyatso was granted the title Dorjichang or Vajradhara Dalai Lama in 1587 [sic!], but China Daily does not mention who granted him the title. Without mentioning the role of the Mongols, China Daily states that it was the successive Qing dynasty which established the title of Dalai Lama and his power in Tibet: "In 1653, the Qing emperor granted an honorific title to the fifth Dalai Lama and then did the same for the fifth Panchen Lama in 1713, officially establishing the titles of the Dalai Lama and the Panchen Erdeni, and their political and religious status in Tibet."
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With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.
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Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.
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Wylie asserts that this type of censorship of the History of Ming distorts the true picture of the history of Sino-Tibetan relations, while the Ming court granted titles to various lamas regardless of their sectarian affiliations in an ongoing civil war in Tibet between competing Buddhist factions. Wylie argues that Ming titles of "King" granted indiscriminately to various Tibetan lamas or even their disciples should not be viewed as reappointments to earlier Yuan dynasty offices, since the viceregal Sakya regime established by the Mongols in Tibet was overthrown by the Phagmodru myriarchy before the Ming existed.
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Meanwhile, the Chinese Ming dynasty fell to the rebellion of Li Zicheng (1606–1645) in 1644, yet his short-lived Shun dynasty was crushed by the Manchu invasion and the Han Chinese general Wu Sangui (1612–1678). China Daily states that when the following Qing dynasty replaced the Ming dynasty, it merely "strengthened administration of Tibet." However, Kolmaš states that the Dalai Lama was very observant of what was going on in China and accepted a Manchu invitation in 1640 to send envoys to their capital at Mukden in 1642, before the Ming collapsed. Dawa Norbu, William Rockhill, and George N. Patterson write that when the Shunzhi Emperor (r. 1644–1661) of the subsequent Qing dynasty invited the fifth Dalai Lama Lozang Gyatso to Beijing in 1652, Shunzhi treated the Dalai Lama as an independent sovereign of Tibet. Patterson writes that this was an effort of Shunzhi to secure an alliance with Tibet that would ultimately lead to the establishment of Manchu rule over Mongolia. In this meeting with the Qing emperor, Goldstein asserts that the Dalai Lama was not someone to be trifled with due to his alliance with Mongol tribes, some of which were declared enemies of the Qing. Van Praag states that Tibet and the Dalai Lama's power was recognized by the "Manchu Emperor, the Mongolian Khans and Princes, and the rulers of Ladakh, Nepal, India, Bhutan, and Sikkim."
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Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
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Despite this glowing message by the Emperor, Chan writes that a year later in 1446, the Ming court cut off all relations with the Karmapa hierarchs. Until then, the court was unaware that Deshin Shekpa had died in 1415. The Ming court had believed that the representatives of the Karma Kagyu who continued to visit the Ming capital were sent by the Karmapa.
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Van Praag states that the Ming court established diplomatic delegations with Tibet merely to secure urgently needed horses. Wang and Nyima argue that these were not diplomatic delegations at all, that Tibetan areas were ruled by the Ming since Tibetan leaders were granted positions as Ming officials, that horses were collected from Tibet as a mandatory "corvée" tax, and therefore Tibetans were "undertaking domestic affairs, not foreign diplomacy". Sperling writes that the Ming simultaneously bought horses in the Kham region while fighting Tibetan tribes in Amdo and receiving Tibetan embassies in Nanjing. He also argues that the embassies of Tibetan lamas visiting the Ming court were for the most part efforts to promote commercial transactions between the lamas' large, wealthy entourage and Ming Chinese merchants and officials. Kolmaš writes that while the Ming maintained a laissez-faire policy towards Tibet and limited the numbers of the Tibetan retinues, the Tibetans sought to maintain a tributary relationship with the Ming because imperial patronage provided them with wealth and power. Laird writes that Tibetans eagerly sought Ming court invitations since the gifts the Tibetans received for bringing tribute were much greater in value than the latter. As for the Yongle Emperor's gifts to his Tibetan and Nepalese vassals such as silver wares, Buddha relics, utensils for Buddhist temples and religious ceremonies, and gowns and robes for monks, Tsai writes "in his effort to draw neighboring states to the Ming orbit so that he could bask in glory, the Yongle Emperor was quite willing to pay a small price". The Information Office of the State Council of the PRC lists the Tibetan tribute items as oxen, horses, camels, sheep, fur products, medical herbs, Tibetan incenses, thangkas (painted scrolls), and handicrafts; while the Ming awarded Tibetan tribute-bearers an equal value of gold, silver, satin and brocade, bolts of cloth, grains, and tea leaves. Silk workshops during the Ming also catered specifically to the Tibetan market with silk clothes and furnishings featuring Tibetan Buddhist iconography.
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The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet.
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Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.
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However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet."
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While the Ming dynasty traded horses with Tibet, it upheld a policy of outlawing border markets in the north, which Laird sees as an effort to punish the Mongols for their raids and to "drive them from the frontiers of China." However, after Altan Khan (1507–1582)—leader of the Tümed Mongols who overthrew the Oirat Mongol confederation's hegemony over the steppes—made peace with the Ming dynasty in 1571, he persuaded the Ming to reopen their border markets in 1573. This provided the Chinese with a new supply of horses that the Mongols had in excess; it was also a relief to the Ming, since they were unable to stop the Mongols from periodic raiding. Laird says that despite the fact that later Mongols believed Altan forced the Ming to view him as an equal, Chinese historians argue that he was simply a loyal Chinese citizen. By 1578, Altan Khan formed a formidable Mongol-Tibetan alliance with the Gelug that the Ming viewed from afar without intervention.
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In 1565, the powerful Rinbung princes were overthrown by one of their own ministers, Karma Tseten who styled himself as the Tsangpa, "the one of Tsang", and established his base of power at Shigatse. The second successor of this first Tsang king, Karma Phuntsok Namgyal, took control of the whole of Central Tibet (Ü-Tsang), reigning from 1611–1621. Despite this, the leaders of Lhasa still claimed their allegiance to the Phagmodru as well as the Gelug, while the Ü-Tsang king allied with the Karmapa. Tensions rose between the nationalistic Ü-Tsang ruler and the Mongols who safeguarded their Mongol Dalai Lama in Lhasa. The fourth Dalai Lama refused to give an audience to the Ü-Tsang king, which sparked a conflict as the latter began assaulting Gelug monasteries. Chen writes of the speculation over the fourth Dalai Lama's mysterious death and the plot of the Ü-Tsang king to have him murdered for "cursing" him with illness, although Chen writes that the murder was most likely the result of a feudal power struggle. In 1618, only two years after Yonten Gyatso died, the Gelug and the Karma Kargyu went to war, the Karma Kargyu supported by the secular Ü-Tsang king. The Ü-Tsang ruler had a large number of Gelugpa lamas killed, occupied their monasteries at Drepung and Sera, and outlawed any attempts to find another Dalai Lama. In 1621, the Ü-Tsang king died and was succeeded by his young son Karma Tenkyong, an event which stymied the war effort as the latter accepted the six-year-old Lozang Gyatso as the new Dalai Lama. Despite the new Dalai Lama's diplomatic efforts to maintain friendly relations with the new Ü-Tsang ruler, Sonam Rapten (1595–1657), the Dalai Lama's chief steward and treasurer at Drepung, made efforts to overthrow the Ü-Tsang king, which led to another conflict. In 1633, the Gelugpas and several thousand Mongol adherents defeated the Ü-Tsang king's troops near Lhasa before a peaceful negotiation was settled. Goldstein writes that in this the "Mongols were again playing a significant role in Tibetan affairs, this time as the military arm of the Dalai Lama."
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Shih-Shan Henry Tsai writes that the Yongle Emperor sent his eunuch Yang Sanbao into Tibet in 1413 to gain the allegiance of various Tibetan princes, while the Yongle Emperor paid a small fortune in return gifts for tributes in order to maintain the loyalty of neighboring vassal states such as Nepal and Tibet. However, Van Praag states that Tibetan rulers upheld their own separate relations with the kingdoms of Nepal and Kashmir, and at times "engaged in armed confrontation with them."
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Journalist and author Thomas Laird, in his book The Story of Tibet: Conversations with the Dalai Lama, writes that Wang and Nyima present the government viewpoint of the People's Republic of China in their Historical Status of China's Tibet, and fail to realize that China was "absorbed into a larger, non-Chinese political unit" during the Mongol Yuan dynasty, which Wang and Nyima paint as a characteristic Chinese dynasty succeeded by the Ming. Laird asserts that the ruling Mongol khans never administered Tibet as part of China and instead ruled them as separate territories, comparing the Mongols with the British who colonized India and New Zealand, yet stating this does not make India part of New Zealand as a consequence. Of later Mongol and Tibetan accounts interpreting the Mongol conquest of Tibet, Laird asserts that "they, like all non-Chinese historical narratives, never portray the Mongol subjugation of Tibet as a Chinese one."
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Rawski writes that Altan Khan's conversion to the Gelug "can be interpreted as an attempt to expand his authority in his conflict with his nominal superior, Tümen Khan." To further cement the Mongol-Tibetan alliance, the great-grandson of Altan Khan—the 4th Dalai Lama (1589–1616)—was made the fourth Dalai Lama. In 1642, the 5th Dalai Lama (1617–1682) became the first to wield effective political control over Tibet.
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Historians Luciano Petech and Sato Hisashi argue that the Ming upheld a "divide-and-rule" policy towards a weak and politically fragmented Tibet after the Sakya regime had fallen. Chan writes that this was perhaps the calculated strategy of the Yongle Emperor, as exclusive patronage to one Tibetan sect would have given it too much regional power. Sperling finds no textual evidence in either Chinese or Tibetan sources to support this thesis of Petech and Hisashi. Norbu asserts that their thesis is largely based on the list of Ming titles conferred on Tibetan lamas rather than "comparative analysis of developments in China and Tibet." Rossabi states that this theory "attributes too much influence to the Chinese," pointing out that Tibet was already politically divided when the Ming dynasty began. Rossabi also discounts the "divide-and-rule" theory on the grounds of the Yongle Emperor's failed attempt to build a strong relationship with the fifth Karmapa—one which he hoped would parallel Kublai Khan's earlier relationship with the Sakya Phagpa lama. Instead, the Yongle Emperor followed the Karmapa's advice of giving patronage to many different Tibetan lamas.
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In his usurpation of the throne from the Jianwen Emperor (r. 1398–1402), the Yongle Emperor was aided by the Buddhist monk Yao Guangxiao, and like his father, the Hongwu Emperor, the Yongle Emperor was "well-disposed towards Buddhism", claims Rossabi. On March 10, 1403, the Yongle Emperor invited Deshin Shekpa, 5th Karmapa Lama (1384–1415), to his court, even though the fourth Karmapa had rejected the invitation of the Hongwu Emperor. A Tibetan translation in the 16th century preserves the letter of the Yongle Emperor, which the Association for Asian Studies notes is polite and complimentary towards the Karmapa. The letter of invitation reads,
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The Columbia Encyclopedia distinguishes between the Yuan dynasty and the other Mongol Empire khanates of Ilkhanate, Chagatai Khanate and the Golden Horde. It describes the Yuan dynasty as "A Mongol dynasty of China that ruled from 1271 to 1368, and a division of the great empire conquered by the Mongols. Founded by Kublai Khan, who adopted the Chinese dynastic name of Yüan in 1271." The Encyclopedia Americana describes the Yuan dynasty as "the line of Mongol rulers in China" and adds that the Mongols "proclaimed a Chinese-style Yüan dynasty at Khanbaliq (Beijing)." The Metropolitan Museum of Art writes that the Mongol rulers of the Yuan dynasty "adopted Chinese political and cultural models; ruling from their capitals in Dadu, they assumed the role of Chinese emperors," although Tibetologist Thomas Laird dismissed the Yuan dynasty as a non-Chinese polity and plays down its Chinese characteristics. The Metropolitan Museum of Art also noted that in spite of the gradual assimilation of Yuan monarchs, the Mongol rulers largely ignored the literati and imposed harsh policies discriminating against southern Chinese. In his Kublai Khan: His Life and Times, Rossabi explains that Kublai "created government institutions that either resembled or were the same as the traditional Chinese ones", and he "wished to signal to the Chinese that he intended to adopt the trappings and style of a Chinese ruler".
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P. Christiaan Klieger, an anthropologist and scholar of the California Academy of Sciences in San Francisco, writes that the vice royalty of the Sakya regime installed by the Mongols established a patron and priest relationship between Tibetans and Mongol converts to Tibetan Buddhism. According to him, the Tibetan lamas and Mongol khans upheld a "mutual role of religious prelate and secular patron," respectively. He adds that "Although agreements were made between Tibetan leaders and Mongol khans, Ming and Qing emperors, it was the Republic of China and its Communist successors that assumed the former imperial tributaries and subject states as integral parts of the Chinese nation-state."
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In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.
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However, Lok-Ham Chan, a professor of history at the University of Washington, writes that Changchub Gyaltsen's aims were to recreate the old Tibetan Kingdom that existed during the Chinese Tang dynasty, to build "nationalist sentiment" amongst Tibetans, and to "remove all traces of Mongol suzerainty." Georges Dreyfus, a professor of religion at Williams College, writes that it was Changchub Gyaltsen who adopted the old administrative system of Songtsän Gampo (c. 605–649)—the first leader of the Tibetan Empire to establish Tibet as a strong power—by reinstating its legal code of punishments and administrative units. For example, instead of the 13 governorships established by the Mongol Sakya viceroy, Changchub Gyaltsen divided Central Tibet into districts (dzong) with district heads (dzong dpon) who had to conform to old rituals and wear clothing styles of old Imperial Tibet. Van Praag asserts that Changchub Gyaltsen's ambitions were to "restore to Tibet the glories of its Imperial Age" by reinstating secular administration, promoting "national culture and traditions," and installing a law code that survived into the 20th century.
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According to the official Twenty-Four Histories, the History of Ming compiled in 1739 by the subsequent Qing dynasty (1644–1912), the Ming dynasty established the "É-Lì-Sī Army-Civilian Marshal Office" (Chinese: 俄力思軍民元帥府) in western Tibet and installed the "Ü-Tsang Itinerant High Commandery" and "Amdo-Kham Itinerant High Commandery" to administer Kham. The Mingshi states that administrative offices were set up under these high commanderies, including one Itinerant Commandery, three Pacification Commissioner's Offices, six Expedition Commissioner's Offices, four Wanhu offices (myriarchies, in command of 10,000 households each) and seventeen Qianhu offices (chiliarchies, each in command of 1,000 households).
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Discussions of strategy in the mid Ming dynasty focused primarily on recovery of the Ordos region, which the Mongols used as a rallying base to stage raids into Ming China. Norbu states that the Ming dynasty, preoccupied with the Mongol threat to the north, could not spare additional armed forces to enforce or back up their claim of sovereignty over Tibet; instead, they relied on "Confucian instruments of tribute relations" of heaping unlimited number of titles and gifts on Tibetan lamas through acts of diplomacy. Sperling states that the delicate relationship between the Ming and Tibet was "the last time a united China had to deal with an independent Tibet," that there was a potential for armed conflict at their borders, and that the ultimate goal of Ming foreign policy with Tibet was not subjugation but "avoidance of any kind of Tibetan threat." P. Christiaan Klieger argues that the Ming court's patronage of high Tibetan lamas "was designed to help stabilize border regions and protect trade routes."
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Elliot Sperling, a specialist of Indian studies and the director of the Tibetan Studies program at Indiana University’s Department of Central Eurasia Studies, writes that "the idea that Tibet became part of China in the 13th century is a very recent construction." He writes that Chinese writers of the early 20th century were of the view that Tibet was not annexed by China until the Manchu Qing dynasty invasion during the 18th century. He also states that Chinese writers of the early 20th century described Tibet as a feudal dependency of China, not an integral part of it. Sperling states that this is because "Tibet was ruled as such, within the empires of the Mongols and the Manchus" and also that "China's intervening Ming dynasty ... had no control over Tibet." He writes that the Ming relationship with Tibet is problematic for China’s insistence of its unbroken sovereignty over Tibet since the 13th century. As for the Tibetan view that Tibet was never subject to the rule of the Yuan or Qing emperors of China, Sperling also discounts this by stating that Tibet was "subject to rules, laws and decisions made by the Yuan and Qing rulers" and that even Tibetans described themselves as subjects of these emperors.
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According to Tibetologist John Powers, Tibetan sources counter this narrative of titles granted by the Chinese to Tibetans with various titles which the Tibetans gave to the Chinese emperors and their officials. Tribute missions from Tibetan monasteries to the Chinese court brought back not only titles, but large, commercially valuable gifts which could subsequently be sold. The Ming emperors sent invitations to ruling lamas, but the lamas sent subordinates rather than coming themselves, and no Tibetan ruler ever explicitly accepted the role of being a vassal of the Ming.
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Following the discovery of a buffer overflow vulnerability in the Wii version of Twilight Princess, an exploit known as the "Twilight Hack" was developed, allowing the execution of custom code from a Secure Digital (SD) card on the console. A properly designed save file would cause the game to load unsigned code, which could include Executable and Linkable Format (ELF) programs and homebrew Wii applications. Versions 3.3 and 3.4 of the Wii Menu prevented copying exploited save files onto the console until circumvention methods were discovered, and version 4.0 of the Wii Menu patched the vulnerability.
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Twilight Princess was released to universal critical acclaim and commercial success. It received perfect scores from major publications such as 1UP.com, Computer and Video Games, Electronic Gaming Monthly, Game Informer, GamesRadar, and GameSpy. On the review aggregators GameRankings and Metacritic, Twilight Princess has average scores of 95% and 95 for the Wii version and scores of 95% and 96 for the GameCube version. GameTrailers in their review called it one of the greatest games ever created.
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Twilight Princess received the awards for Best Artistic Design, Best Original Score, and Best Use of Sound from IGN for its GameCube version. Both IGN and Nintendo Power gave Twilight Princess the awards for Best Graphics and Best Story. Twilight Princess received Game of the Year awards from GameTrailers, 1UP.com, Electronic Gaming Monthly, Game Informer, Games Radar, GameSpy, Spacey Awards, X-Play and Nintendo Power. It was also given awards for Best Adventure Game from the Game Critics Awards, X-Play, IGN, GameTrailers, 1UP.com, and Nintendo Power. The game was considered the Best Console Game by the Game Critics Awards and GameSpy. The game placed 16th in Official Nintendo Magazine's list of the 100 Greatest Nintendo Games of All Time. IGN ranked the game as the 4th-best Wii game. Nintendo Power ranked the game as the third-best game to be released on a Nintendo system in the 2000s decade.
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Prior Zelda games have employed a theme of two separate, yet connected, worlds. In A Link to the Past, Link travels between a "Light World" and a "Dark World"; in Ocarina of Time, as well as in Oracle of Ages, Link travels between two different time periods. The Zelda team sought to reuse this motif in the series' latest installment. It was suggested that Link transform into a wolf, much like he metamorphoses into a rabbit in the Dark World of A Link to the Past.[m] The story of the game was created by Aonuma, and later underwent several changes by scenario writers Mitsuhiro Takano and Aya Kyogoku. Takano created the script for the story scenes, while Kyogoku and Takayuki Ikkaku handled the actual in-game script. Aonuma left his team working on the new idea while he directed The Minish Cap for the Game Boy Advance. When he returned, he found the Twilight Princess team struggling. Emphasis on the parallel worlds and the wolf transformation had made Link's character unbelievable. Aonuma also felt the gameplay lacked the caliber of innovation found in Phantom Hourglass, which was being developed with touch controls for the Nintendo DS. At the same time, the Wii was under development with the code name "Revolution". Miyamoto thought that the Revolution's pointing device, the Wii Remote, was well suited for aiming arrows in Zelda, and suggested that Aonuma consider using it.[n]
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Nintendo staff members reported that demo users complained about the difficulty of the control scheme. Aonuma realized that his team had implemented Wii controls under the mindset of "forcing" users to adapt, instead of making the system intuitive and easy to use. He began rethinking the controls with Miyamoto to focus on comfort and ease.[q] The camera movement was reworked and item controls were changed to avoid accidental button presses.[r] In addition, the new item system required use of the button that had previously been used for the sword. To solve this, sword controls were transferred back to gestures—something E3 attendees had commented they would like to see. This reintroduced the problem of using a right-handed swing to control a left-handed sword attack. The team did not have enough time before release to rework Link's character model, so they instead flipped the entire game—everything was made a mirror image.[s] Link was now right-handed, and references to "east" and "west" were switched around. The GameCube version, however, was left with the original orientation. The Twilight Princess player's guide focuses on the Wii version, but has a section in the back with mirror-image maps for GameCube users.[t]
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The team worked on a Wii control scheme, adapting camera control and the fighting mechanics to the new interface. A prototype was created that used a swinging gesture to control the sword from a first-person viewpoint, but was unable to show the variety of Link's movements. When the third-person view was restored, Aonuma thought it felt strange to swing the Wii Remote with the right hand to control the sword in Link's left hand, so the entire Wii version map was mirrored.[p] Details about Wii controls began to surface in December 2005 when British publication NGC Magazine claimed that when a GameCube copy of Twilight Princess was played on the Revolution, it would give the player the option of using the Revolution controller. Miyamoto confirmed the Revolution controller-functionality in an interview with Nintendo of Europe and Time reported this soon after. However, support for the Wii controller did not make it into the GameCube release. At E3 2006, Nintendo announced that both versions would be available at the Wii launch, and had a playable version of Twilight Princess for the Wii.[p] Later, the GameCube release was pushed back to a month after the launch of the Wii.
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At the time of its release, Twilight Princess was considered the greatest entry in the Zelda series by many critics, including writers for 1UP.com, Computer and Video Games, Electronic Gaming Monthly, Game Informer, GamesRadar, IGN, and The Washington Post. It received several Game of the Year awards, and was the most critically acclaimed game of 2006. In 2011, the Wii version was rereleased under the Nintendo Selects label. A high-definition port for the Wii U, The Legend of Zelda: Twilight Princess HD, will be released in March 2016.
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Special bundles of the game contain a Wolf Link Amiibo figurine, which unlocks a Wii U-exclusive dungeon called the "Cave of Shadows" and can carry data over to the upcoming 2016 Zelda game. Other Zelda-related Amiibo figurines have distinct functions: Link and Toon Link replenish arrows, Zelda and Sheik restore Link's health, and Ganondorf causes Link to take twice as much damage.
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The game's score was composed by Toru Minegishi and Asuka Ohta, with series regular Koji Kondo serving as the sound supervisor. Minegishi took charge of composition and sound design in Twilight Princess, providing all field and dungeon music under the supervision of Kondo. For the trailers, three pieces were written by different composers, two of which were created by Mahito Yokota and Kondo. Michiru Ōshima created orchestral arrangements for the three compositions, later to be performed by an ensemble conducted by Yasuzo Takemoto. Kondo's piece was later chosen as music for the E3 2005 trailer and for the demo movie after the game's title screen.
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When Link enters the Twilight Realm, the void that corrupts parts of Hyrule, he transforms into a wolf.[h] He is eventually able to transform between his Hylian and wolf forms at will. As a wolf, Link loses the ability to use his sword, shield, or any secondary items; he instead attacks by biting, and defends primarily by dodging attacks. However, "Wolf Link" gains several key advantages in return—he moves faster than he does as a human (though riding Epona is still faster) and digs holes to create new passages and uncover buried items, and has improved senses, including the ability to follow scent trails.[i] He also carries Midna, a small imp-like creature who gives him hints, uses an energy field to attack enemies, helps him jump long distances, and eventually allows Link to "warp" to any of several preset locations throughout the overworld.[j] Using Link's wolf senses, the player can see and listen to the wandering spirits of those affected by the Twilight, as well as hunt for enemy ghosts named Poes.[k]
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The artificial intelligence (AI) of enemies in Twilight Princess is more advanced than that of enemies in The Wind Waker. Enemies react to defeated companions and to arrows or slingshot pellets that pass by, and can detect Link from a greater distance than was possible in previous games.
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In the PAL region, which covers most of Africa, Asia, Europe, and Oceania, Twilight Princess is the best-selling entry in the Zelda series. During its first week, the game was sold with three of every four Wii purchases. The game had sold 5.82 million copies on the Wii as of March 31, 2011[update], and 1.32 million on the GameCube as of March 31, 2007[update].
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In four months, Aonuma's team managed to present realistic horseback riding,[l] which Nintendo later revealed to the public with a trailer at Electronic Entertainment Expo 2004. The game was scheduled to be released the next year, and was no longer a follow-up to The Wind Waker; a true sequel to it was released for the Nintendo DS in 2007, in the form of Phantom Hourglass. Miyamoto explained in interviews that the graphical style was chosen to satisfy demand, and that it better fit the theme of an older incarnation of Link. The game runs on a modified The Wind Waker engine.
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On release, Twilight Princess was considered to be the greatest Zelda game ever made by many critics including writers for 1UP.com, Computer and Video Games, Electronic Gaming Monthly, Game Informer, GamesRadar, IGN and The Washington Post. Game Informer called it "so creative that it rivals the best that Hollywood has to offer". GamesRadar praised Twilight Princess as "a game that deserves nothing but the absolute highest recommendation". Cubed3 hailed Twilight Princess as "the single greatest videogame experience". Twilight Princess's graphics were praised for the art style and animation, although the game was designed for the GameCube, which is technically lacking compared to the next generation consoles. Both IGN and GameSpy pointed out the existence of blurry textures and low-resolution characters. Despite these complaints, Computer and Video Games felt the game's atmosphere was superior to that of any previous Zelda game, and regarded Twilight Princess's Hyrule as the best version ever created. PALGN praised the game's cinematics, noting that "the cutscenes are the best ever in Zelda games". Regarding the Wii version, GameSpot's Jeff Gerstmann said the Wii controls felt "tacked-on", although 1UP.com said the remote-swinging sword attacks were "the most impressive in the entire series". Gaming Nexus considered Twilight Princess's soundtrack to be the best of this generation, though IGN criticized its MIDI-formatted songs for lacking "the punch and crispness" of their orchestrated counterparts. Hyper's Javier Glickman commended the game for its "very long quests, superb Wii controls and being able to save anytime". However, he criticised it for "no voice acting, no orchestral score and slightly outdated graphics".
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A CD containing 20 musical selections from the game was available as a GameStop preorder bonus in the United States; it is included in all bundles in Japan, Europe, and Australia.[citation needed]
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Twilight Princess takes place several centuries after Ocarina of Time and Majora's Mask, and begins with a youth named Link who is working as a ranch hand in Ordon Village. One day, the village is attacked by Bulblins, who carry off the village's children with Link in pursuit before he encounters a wall of Twilight. A Shadow Beast pulls him beyond the wall into the Realm of Twilight, where he is transformed into a wolf and imprisoned. Link is soon freed by an imp-like Twilight being named Midna, who dislikes Link but agrees to help him if he obeys her unconditionally. She guides him to Princess Zelda. Zelda explains that Zant, the King of the Twilight, has stolen the light from three of the four Light Spirits and conquered Hyrule. In order to save Hyrule, Link must first restore the Light Spirits by entering the Twilight-covered areas and, as a wolf, recover the Spirits' lost light. He must do this by collecting the multiple "Tears of Light"; once all the Tears of Light are collected for one area, he restores that area's Light Spirit. As he restores them, the Light Spirits return Link to his Hylian form.
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The story focuses on series protagonist Link, who tries to prevent Hyrule from being engulfed by a corrupted parallel dimension known as the Twilight Realm. To do so, he takes the form of both a Hylian and a wolf, and is assisted by a mysterious creature named Midna. The game takes place hundreds of years after Ocarina of Time and Majora's Mask, in an alternate timeline from The Wind Waker.
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Aonuma had anticipated creating a Zelda game for what would later be called the Wii, but had assumed that he would need to complete Twilight Princess first. His team began work developing a pointing-based interface for the bow and arrow, and Aonuma found that aiming directly at the screen gave the game a new feel, just like the DS control scheme for Phantom Hourglass. Aonuma felt confident this was the only way to proceed, but worried about consumers who had been anticipating a GameCube release. Developing two versions would mean delaying the previously announced 2005 release, still disappointing the consumer. Satoru Iwata felt that having both versions would satisfy users in the end, even though they would have to wait for the finished product. Aonuma then started working on both versions in parallel.[o]
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After gaining the Master Sword, Link is cleansed of the magic that kept him in wolf form, obtaining the Shadow Crystal. Now able to use it to switch between both forms at will, Link is led by Midna to the Mirror of Twilight located deep within the Gerudo Desert, the only known gateway between the Twilight Realm and Hyrule. However, they discover that the mirror is broken. The Sages there explain that Zant tried to destroy it, but he was only able to shatter it into fragments; only the true ruler of the Twili can completely destroy the Mirror of Twilight. They also reveal that they used it a century ago to banish Ganondorf, the Gerudo leader who attempted to steal the Triforce, to the Twilight Realm when executing him failed. Assisted by an underground resistance group they meet in Castle Town, Link and Midna set out to retrieve the missing shards of the Mirror, defeating those they infected. Once the portal has been restored, Midna is revealed to be the true ruler of the Twilight Realm, usurped by Zant when he cursed her into her current form. Confronting Zant, Link and Midna learn that Zant's coup was made possible when he forged a pact with Ganondorf, who asked for Zant's assistance in conquering Hyrule. After Link defeats Zant, Midna recovers the Fused Shadows, but destroys Zant after learning that only Ganondorf's death can release her from her curse. Returning to Hyrule, Link and Midna find Ganondorf in Hyrule Castle, with a lifeless Zelda suspended above his head. Ganondorf fights Link by possessing Zelda's body and eventually by transforming into a beast, but Link defeats him and Midna is able to resurrect Zelda.
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Media requests at the trade show prompted Kondo to consider using orchestral music for the other tracks in the game as well, a notion reinforced by his preference for live instruments. He originally envisioned a full 50-person orchestra for action sequences and a string quartet for more "lyrical moments", though the final product used sequenced music instead. Kondo later cited the lack of interactivity that comes with orchestral music as one of the main reasons for the decision. Both six- and seven-track versions of the game's soundtrack were released on November 19, 2006, as part of a Nintendo Power promotion and bundled with replicas of the Master Sword and the Hylian Shield.
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Ganondorf then revives, and Midna teleports Link and Zelda outside the castle so she can hold him off with the Fused Shadows. However, as Hyrule Castle collapses, it is revealed that Ganondorf was victorious as he crushes Midna's helmet. Ganondorf engages Link on horseback, and, assisted by Zelda and the Light Spirits, Link eventually knocks Ganondorf off his horse and they duel on foot before Link strikes down Ganondorf and plunges the Master Sword into his chest. With Ganondorf dead, the Light Spirits not only bring Midna back to life, but restore her to her true form. After bidding farewell to Link and Zelda, Midna returns home before destroying the Mirror of Twilight with a tear to maintain balance between Hyrule and the Twilight Realm. Near the end, as Hyrule Castle is rebuilt, Link is shown leaving Ordon Village heading to parts unknown.
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The GameCube and Wii versions feature several minor differences in their controls. The Wii version of the game makes use of the motion sensors and built-in speaker of the Wii Remote. The speaker emits the sounds of a bowstring when shooting an arrow, Midna's laugh when she gives advice to Link, and the series' trademark "chime" when discovering secrets. The player controls Link's sword by swinging the Wii Remote. Other attacks are triggered using similar gestures with the Nunchuk. Unique to the GameCube version is the ability for the player to control the camera freely, without entering a special "lookaround" mode required by the Wii; however, in the GameCube version, only two of Link's secondary weapons can be equipped at a time, as opposed to four in the Wii version.[g]
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The Legend of Zelda: Twilight Princess is an action-adventure game focused on combat, exploration, and item collection. It uses the basic control scheme introduced in Ocarina of Time, including context-sensitive action buttons and L-targeting (Z-targeting on the Wii), a system that allows the player to keep Link's view focused on an enemy or important object while moving and attacking. Link can walk, run, and attack, and will automatically jump when running off of or reaching for a ledge.[c] Link uses a sword and shield in combat, complemented with secondary weapons and items, including a bow and arrows, a boomerang, bombs, and the Clawshot (similar to the Hookshot introduced earlier in the The Legend of Zelda series).[d] While L-targeting, projectile-based weapons can be fired at a target without the need for manual aiming.[c]
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In 2003, Nintendo announced that a new The Legend of Zelda game was in the works for the GameCube by the same team that had created the cel-shaded The Wind Waker. At the following year's Game Developers Conference, director Eiji Aonuma unintentionally revealed that the game's sequel was in development under the working title The Wind Waker 2; it was set to use a similar graphical style to that of its predecessor. Nintendo of America told Aonuma that North American sales of The Wind Waker were sluggish because its cartoon appearance created the impression that the game was designed for a young audience. Concerned that the sequel would have the same problem, Aonuma expressed to producer Shigeru Miyamoto that he wanted to create a realistic Zelda game that would appeal to the North American market. Miyamoto, hesitant about solely changing the game's presentation, suggested the team's focus should instead be on coming up with gameplay innovations. He advised that Aonuma should start by doing what could not be done in Ocarina of Time, particularly horseback combat.[l]
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The Legend of Zelda: Twilight Princess (Japanese: ゼルダの伝説 トワイライトプリンセス, Hepburn: Zeruda no Densetsu: Towairaito Purinsesu?) is an action-adventure game developed and published by Nintendo for the GameCube and Wii home video game consoles. It is the thirteenth installment in the The Legend of Zelda series. Originally planned for release on the GameCube in November 2005, Twilight Princess was delayed by Nintendo to allow its developers to refine the game, add more content, and port it to the Wii. The Wii version was released alongside the console in North America in November 2006, and in Japan, Europe, and Australia the following month. The GameCube version was released worldwide in December 2006.[b]
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During this time, Link also helps Midna find the Fused Shadows, fragments of a relic containing powerful dark magic. In return, she helps Link find Ordon Village's children while helping the monkeys of Faron, the Gorons of Eldin, and the Zoras of Lanayru. Once Link has restored the Light Spirits and Midna has all the Fused Shadows, they are ambushed by Zant. After he relieves Midna of the Fused Shadow fragments, she ridicules him for abusing his tribe's magic, but Zant reveals that his power comes from another source as he uses it to turn Link back into a wolf, and then leaves Midna in Hyrule to die from the world's light. Bringing a dying Midna to Zelda, Link learns he needs the Master Sword to return to human form. Zelda sacrifices herself to heal Midna with her power before vanishing mysteriously. Midna is moved by Zelda's sacrifice, and begins to care more about Link and the fate of the light world.
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A high-definition remaster of the game, The Legend of Zelda: Twilight Princess HD, is being developed by Tantalus Media for the Wii U. Officially announced during a Nintendo Direct presentation on November 12, 2015, it features enhanced graphics and Amiibo functionality. The game will be released in North America and Europe on March 4, 2016; in Australia on March 5, 2016; and in Japan on March 10, 2016.
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Transferring GameCube development to the Wii was relatively simple, since the Wii was being created to be compatible with the GameCube.[o] At E3 2005, Nintendo released a small number of Nintendo DS game cards containing a preview trailer for Twilight Princess. They also announced that Zelda would appear on the Wii (then codenamed "Revolution"), but it was not clear to the media if this meant Twilight Princess or a different game.
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The ownership of the Spectre organisation—originally stylised "SPECTRE" as an acronym of SPecial Executive for Counter-intelligence, Terrorism, Revenge and Extortion—and its characters, had been at the centre of long-standing litigation starting in 1961 between Ian Fleming and Kevin McClory over the film rights to the novel Thunderball. The dispute began after Fleming incorporated elements of an undeveloped film script written by McClory and screenwriter Jack Whittingham—including characters and plot points—into Thunderball, which McClory contested in court, claiming ownership over elements of the novel. In 1963, Fleming settled out of court with McClory, in an agreement which awarded McClory the film rights. This enabled him to become a producer for the 1965 film Thunderball—with Albert R. Broccoli and Harry Saltzman as executive producers—and the non-Eon film Never Say Never Again, an updated remake of Thunderball, in 1983.[N 3] A second remake, entitled Warhead 2000 A.D., was planned for production and release in the 1990s before being abandoned. Under the terms of the 1963 settlement, the literary rights stayed with Fleming, allowing the Spectre organisation and associated characters to continue appearing in print.
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Bond and Swann return to London where they meet M, Bill Tanner, Q, and Moneypenny; they intend to arrest C and stop Nine Eyes from going online. Swann leaves Bond, telling him she cannot be part of a life involving espionage, and is subsequently kidnapped. On the way, the group is ambushed and Bond is kidnapped, but the rest still proceed with the plan. After Q succeeds in preventing the Nine Eyes from going online, a brief struggle between M and C ends with the latter falling to his death. Meanwhile, Bond is taken to the old MI6 building, which is scheduled for demolition, and frees himself. Moving throughout the ruined labyrinth, he encounters a disfigured Blofeld, who tells him that he has three minutes to escape the building before explosives are detonated or die trying to save Swann. Bond finds Swann and the two escape by boat as the building collapses. Bond shoots down Blofeld's helicopter, which crashes onto Westminster Bridge. As Blofeld crawls away from the wreckage, Bond confronts him but ultimately leaves him to be arrested by M. Bond leaves the bridge with Swann.
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In India, it was reported that the Indian Central Board of Film Certification (CBFC) censored kissing scenes featuring Monica Bellucci, Daniel Craig, and Léa Seydoux. They also muted all profanity. This prompted criticism of the board online, especially on Twitter.
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Mendes revealed that production would begin on 8 December 2014 at Pinewood Studios, with filming taking seven months. Mendes also confirmed several filming locations, including London, Mexico City and Rome. Van Hoytema shot the film on Kodak 35 mm film stock. Early filming took place at Pinewood Studios, and around London, with scenes variously featuring Craig and Harris at Bond's flat, and Craig and Kinnear travelling down the River Thames.
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The song was released as a digital download on 25 September 2015. It received mixed reviews from critics and fans, particularly in comparison to Adele's "Skyfall". The mixed reception to the song led to Shirley Bassey trending on Twitter on the day it was released. It became the first Bond theme to reach number one in the UK Singles Chart. The English band Radiohead also composed a song for the film, which went unused.
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Spectre has received mixed reviews, with many reviewers either giving the film highly positive or highly negative feedback. Many critics praised the film's opening scene, action sequences, stuntwork, cinematography and performances from the cast. In some early reviews, the film received favourable comparisons with its predecessor, Skyfall. Rotten Tomatoes sampled 274 reviews and judged 64% of the critiques to be positive, saying that the film "nudges Daniel Craig's rebooted Bond closer to the glorious, action-driven spectacle of earlier entries, although it's admittedly reliant on established 007 formula." On Metacritic, the film has a rating of 60 out of 100, based on 48 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.
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Spectre had its world premiere in London on 26 October 2015 at the Royal Albert Hall, the same day as its general release in the United Kingdom and Republic of Ireland. Following the announcement of the start of filming, Paramount Pictures brought forward the release of Mission: Impossible – Rogue Nation to avoid competing with Spectre. In March 2015 IMAX corporation announced that Spectre would be screened in its cinemas, following Skyfall's success with the company. In the UK it received a wider release than Skyfall, with a minimum of 647 cinemas including 40 IMAX screens, compared to Skyfall's 587 locations and 21 IMAX screens.
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The two travel to the hotel and discover White's secret room where they find co-ordinates pointing to Oberhauser's operations base in the desert. They travel by train to the nearest station, but are once again confronted by Hinx; they engage in a fight throughout the train in which Mr Hinx is eventually thrown off the train by Bond with Swann's assistance. After arriving at the station, Bond and Swann are escorted to Oberhauser's base. There, he reveals that Spectre has been staging terrorist attacks around the world, creating a need for the Nine Eyes programme. In return Spectre will be given unlimited access to intelligence gathered by Nine Eyes. Bond is tortured as Oberhauser discusses their shared history: after the younger Bond was orphaned, Oberhauser's father, Hannes, became his temporary guardian. Believing that Bond supplanted his role as son, Oberhauser killed his father and staged his own death, subsequently adopting the name Ernst Stavro Blofeld and going on to form Spectre. Bond and Swann escape, destroying the base in the process, leaving Blofeld to apparently die during the explosion.
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The main cast was revealed in December 2014 at the 007 Stage at Pinewood Studios. Daniel Craig returned for his fourth appearance as James Bond, while Ralph Fiennes, Naomie Harris and Ben Whishaw reprised their roles as M, Eve Moneypenny and Q respectively, having been established in Skyfall. Rory Kinnear also reprised his role as Bill Tanner in his third appearance in the series.
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In March 2013 Mendes said he would not return to direct the next film in the series, then known as Bond 24; he later recanted and announced that he would return, as he found the script and the plans for the long-term future of the franchise appealing. In directing Skyfall and Spectre, Mendes became the first director to oversee two consecutive Bond films since John Glen directed The Living Daylights and Licence to Kill in 1987 and 1989. Skyfall writer John Logan resumed his role of scriptwriter, collaborating with Neal Purvis and Robert Wade, who returned for their sixth Bond film.[N 4] The writer Jez Butterworth also worked on the script, alongside Mendes and Craig. Dennis Gassner returned as the film's production designer, while cinematographer Hoyte van Hoytema took over from Roger Deakins. In July 2015 Mendes noted that the combined crew of Spectre numbered over one thousand, making it a larger production than Skyfall. Craig is listed as co-producer.
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In China, it opened on 12 November and earned $15 million on its opening day, which is the second biggest 2D single day gross for a Hollywood film behind the $18.5 million opening day of Mission: Impossible – Rogue Nation and occupying 43% of all available screens which included $790,000 in advance night screenings. Through its opening weekend, it earned $48.1 million from 14,700 screens which is 198% ahead of Skyfall, a new record for a Hollywood 2D opening. IMAX contributed $4.6 million on 246 screens, also a new record for a three-day opening for a November release (breaking Interstellar's record). In its second weekend, it added $12.1 million falling precipitously by 75% which is the second worst second weekend drop for any major Hollywood release in China of 2015. It grossed a total of $84.7 million there after four weekends. Albeit a strong opening it failed to attain the $100 million mark as projected.
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Despite being an original story, Spectre draws on Ian Fleming's source material, most notably in the character of Franz Oberhauser, played by Christoph Waltz. Oberhauser shares his name with Hannes Oberhauser, a background character in the short story "Octopussy" from the Octopussy and The Living Daylights collection, and who is named in the film as having been a temporary legal guardian of a young Bond in 1983. Similarly, Charmian Bond is shown to have been his full-time guardian, observing the back story established by Fleming. With the acquisition of the rights to Spectre and its associated characters, screenwriters Neal Purvis and Robert Wade revealed that the film would provide a minor retcon to the continuity of the previous films, with the Quantum organisation alluded to in Casino Royale and introduced in Quantum of Solace reimagined as a division within Spectre rather than an independent organisation.
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Christoph Waltz was cast in the role of Franz Oberhauser, though he refused to comment on the nature of the part. It was later revealed with the film's release that he is Ernst Stavro Blofeld. Dave Bautista was cast as Mr. Hinx after producers sought an actor with a background in contact sports. After casting Bérénice Lim Marlohe, a relative newcomer, as Sévérine in Skyfall, Mendes consciously sought out a more experienced actor for the role of Madeleine Swann, ultimately casting Léa Seydoux in the role. Monica Bellucci joined the cast as Lucia Sciarra, becoming, at the age of fifty, the oldest actress to be cast as a Bond girl. In a separate interview with Danish website Euroman, Jesper Christensen revealed he would be reprising his role as Mr. White from Casino Royale and Quantum of Solace. Christensen's character was reportedly killed off in a scene intended to be used as an epilogue to Quantum of Solace, before it was removed from the final cut of the film, enabling his return in Spectre.
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In November 2013 MGM and the McClory estate formally settled the issue with Danjaq, LLC—sister company of Eon Productions—with MGM acquiring the full copyright film rights to the concept of Spectre and all of the characters associated with it. With the acquisition of the film rights and the organisation's re-introduction to the series' continuity, the SPECTRE acronym was discarded and the organisation reimagined as "Spectre".
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Bond travels to Austria to find White, who is dying of thallium poisoning. He admits to growing disenchanted with Quantum and tells Bond to find and protect his daughter, Dr. Madeline Swann, who will take him to L'Américain; this will in turn lead him to Spectre. White then commits suicide. Bond locates Swann at the Hoffler Klinik, but she is abducted by Hinx. Bond rescues her and the two meet Q, who discovers that Sciarra's ring links Oberhauser to Bond's previous missions, identifying Le Chiffre, Dominic Greene and Raoul Silva as Spectre agents. Swann reveals that L'Américain is a hotel in Tangier.
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In the United States and Canada, the film opened on 6 November 2015, and in its opening weekend, was originally projected to gross $70–75 million from 3,927 screens, the widest release for a Bond film. However, after grossing $5.25 million from its early Thursday night showings and $28 million on its opening day, weekend projections were increased to $75–80 million. The film ended up grossing $70.4 million in its opening weekend (about $20 million less than Skyfall's $90.6 million debut, including IMAX previews), but nevertheless finished first at the box office. IMAX generated $9.1 million for Spectre at 374 screens, premium large format made $8 million from 429 cinemas, reaping 11% of the film's opening, which means that Spectre earned $17.1 million (23%) of its opening weekend total in large-format venues. Cinemark XD generated $1.85 million in 112 XD locations.
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In November 2014, Sony Pictures Entertainment was targeted by hackers who released details of confidential e-mails between Sony executives regarding several high-profile film projects. Included within these were several memos relating to the production of Spectre, claiming that the film was over budget, detailing early drafts of the script written by John Logan, and expressing Sony's frustration with the project. Eon Productions later issued a statement confirming the leak of what they called "an early version of the screenplay".
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Spectre (2015) is the twenty-fourth James Bond film produced by Eon Productions. It features Daniel Craig in his fourth performance as James Bond, and Christoph Waltz as Ernst Stavro Blofeld, with the film marking the character's re-introduction into the series. It was directed by Sam Mendes as his second James Bond film following Skyfall, and was written by John Logan, Neal Purvis, Robert Wade and Jez Butterworth. It is distributed by Metro-Goldwyn-Mayer and Columbia Pictures. With a budget around $245 million, it is the most expensive Bond film and one of the most expensive films ever made.
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As of 21 February 2016[update] Spectre has grossed $879.3 million worldwide; $138.1 million of the takings have been generated from the UK market and $199.8 million from North America.
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A brief shoot at London's City Hall was filmed on 18 April 2015, while Mendes was on location. On 17 May 2015 filming took place on the Thames in London. Stunt scenes involving Craig and Seydoux on a speedboat as well as a low flying helicopter near Westminster Bridge were shot at night, with filming temporarily closing both Westminster and Lambeth Bridges. Scenes were also shot on the river near MI6's headquarters at Vauxhall Cross. The crew returned to the river less than a week later to film scenes solely set on Westminster Bridge. The London Fire Brigade was on set to simulate rain as well as monitor smoke used for filming. Craig, Seydoux, and Waltz, as well as Harris and Fiennes, were seen being filmed. Prior to this, scenes involving Fiennes were shot at a restaurant in Covent Garden. Filming then took place in Trafalgar Square. In early June, the crew, as well as Craig, Seydoux, and Waltz, returned to the Thames for a final time to continue filming scenes previously shot on the river.
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Whilst filming in Mexico City, speculation in the media claimed that the script had been altered to accommodate the demands of Mexican authorities—reportedly influencing details of the scene and characters, casting choices, and modifying the script in order to portray the country in a "positive light"—in order to secure tax concessions and financial support worth up to $20 million for the film. This was denied by producer Michael G. Wilson, who stated that the scene had always been intended to be shot in Mexico as production had been attracted to the imagery of the Day of the Dead, and that the script had been developed from there. Production of Skyfall had previously faced similar problems while attempting to secure permits to shoot the film's pre-title sequence in India before moving to Istanbul.
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After wrapping up in England, production travelled to Morocco in June, with filming taking place in Oujda, Tangier and Erfoud, after preliminary work was completed by the production's second unit. An explosion filmed in Morocco holds a Guinness World Record for the "Largest film stunt explosion" in cinematic history, with the record credited to production designer Chris Corbould. Principal photography concluded on 5 July 2015. A wrap-up party for Spectre was held in commemoration before entering post-production. Filming took 128 days.
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In addition to the principal cast, Alessandro Cremona was cast as Marco Sciarra, Stephanie Sigman was cast as Estrella, and Detlef Bothe was cast as a villain for scenes shot in Austria. In February 2015 over fifteen hundred extras were hired for the pre-title sequence set in Mexico, though they were duplicated in the film, giving the effect of around ten thousand extras.
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Following filming in Mexico, and during a scheduled break, Craig was flown to New York to undergo minor surgery to fix his knee injury. It was reported that filming was not affected and he had returned to filming at Pinewood Studios as planned on 22 April.
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Spectre opened in Germany with $22.45 million (including previews), which included a new record for the biggest Saturday of all time, Australia with $8.7 million (including previews) and South Korea opened to $8.2 million (including previews). Despite the 13 November Paris attacks, which led to numerous theaters being closed down, the film opened with $14.6 million (including $2 million in previews) in France. In Mexico, where part of the film was shot, it debuted with more than double that of Skyfall with $4.5 million. It also bested its predecessor's opening in various Nordic regions where MGM is distributing, such as in Finland ($2.66 million) and Norway ($2.91 million), and in other markets like Denmark ($4.2 million), the Netherlands ($3.38 million), and Sweden ($3.1 million). In India, it opened at No. 1 with $4.8 million which is 4% above the opening of Skyfall. It topped the German-speaking Switzerland box office for four weeks and in the Netherlands, it has held the No. 1 spot for seven weeks straight where it has topped Minions to become the top movie of the year. The top earning markets are Germany ($70.3 million) and France ($38.8 million). In Paris, it has the second highest ticket sales of all time with $4.1 million tickets sold only behind Spider-Man 3 which sold over $6.32 million tickets in 2007.
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Filming started in Austria in December 2014, with production taking in the area around Sölden—including the Ötztal Glacier Road, Rettenbach glacier and the adjacent ski resort and cable car station—and Obertilliach and Lake Altaussee, before concluding in February 2015. Scenes filmed in Austria centred on the Ice Q Restaurant, standing in for the fictional Hoffler Klinik, a private medical clinic in the Austrian Alps. Filming included an action scene featuring a Land Rover Defender Bigfoot and a Range Rover Sport. Production was temporarily halted first by an injury to Craig, who sprained his knee whilst shooting a fight scene, and later by an accident involving a filming vehicle that saw three crew members injured, at least one of them seriously.
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Filming temporarily returned to England to shoot scenes at Blenheim Palace in Oxfordshire, which stood in for a location in Rome, before moving on to the city itself for a five-week shoot across the city, with locations including the Ponte Sisto bridge and the Roman Forum. The production faced opposition from a variety of special interest groups and city authorities, who were concerned about the potential for damage to historical sites around the city, and problems with graffiti and rubbish appearing in the film. A car chase scene set along the banks of the Tiber River and through the streets of Rome featured an Aston Martin DB10 and a Jaguar C-X75. The C-X75 was originally developed as a hybrid electric vehicle with four independent electric engines powered by two jet turbines, before the project was cancelled. The version used for filming was converted to use a conventional internal combustion engine, to minimise the potential for disruption from mechanical problems with the complex hybrid system. The C-X75s used for filming were developed by the engineering division of Formula One racing team Williams, who built the original C-X75 prototype for Jaguar.
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Prior to its UK release, Spectre mostly received positive reviews. Mark Kermode, writing in The Guardian, gave the film four out of five stars, observing that the film did not live up to the standard set by Skyfall, but was able to tap into audience expectations. Writing in the same publication, Peter Bradshaw gave the film a full five stars, calling it "inventive, intelligent and complex", and singling out Craig's performance as the film's highlight. In another five star review, The Daily Telegraph's Robbie Collin described Spectre as "a swaggering show of confidence'", lauding it as "a feat of pure cinematic necromancy." In an otherwise positive, but overall less enthusiastic review, IGN's Chris Tilly considered Spectre "solid if unspectacular", and gave the film a 7.2 score (out of a possible 10), saying that "the film falls frustratingly short of greatness."
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Spectre was released on 26 October 2015 in the United Kingdom on the same night as the world premiere at the Royal Albert Hall in London, followed by a worldwide release. It was released in the United States on 6 November 2015. It became the second James Bond film to be screened in IMAX venues after Skyfall, although it was not filmed with IMAX cameras. Spectre received mixed reviews upon its release; although criticised for its length, lack of screen time for new characters, and writing, it received praise for its action sequences and cinematography. The theme song, "Writing's on the Wall", received mixed reviews, particularly compared to the previous theme; nevertheless, it won the Golden Globe for Best Original Song and was nominated for the Academy Award in the same category. As of 20 February 2016[update], Spectre has grossed over $879 million worldwide.
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On 13 March 2015, several members of the cast and crew, including Craig, Whishaw, Wilson and Mendes, as well as previous James Bond actor, Sir Roger Moore, appeared in a sketch written by David Walliams and the Dawson Brothers for Comic Relief's Red Nose Day on BBC One. In the sketch, they film a behind-the-scenes mockumentary on the filming of Spectre. The first teaser trailer for Spectre was released worldwide in March 2015, followed by the theatrical trailer in July and the final trailer in October.
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