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Journal articles on the topic 'Chinese mythology'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Musurmanov Erkin. "Representations of the origin of the universe in ancient and centrasiatic mythology." International Journal on Integrated Education 3, no. 6 (2020): 52–55. http://dx.doi.org/10.31149/ijie.v3i6.406.

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This article discusses the interpretation of the main gods of the Uzbek (Turkic) and Chinese mythology, their similar and distinctive features. Comparing the deities of Chinese mythology Pangu and Uzbek mythology Tengri, as well as the goddesses of Chinese and Uzbek mythology Nyuva and Umai, it is concluded that there is the unity of the genesis of the main gods of the pantheon of mythology of the two peoples.

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Aijmer, Goran, and Anne Birrell. "Chinese Mythology: An Introduction." Journal of the Royal Anthropological Institute 2, no. 1 (1996): 168. http://dx.doi.org/10.2307/3034649.

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Hegel, Robert E., and Anne M. Birrell. "Chinese Mythology: An Introduction." Chinese Literature: Essays, Articles, Reviews (CLEAR) 18 (December 1996): 205. http://dx.doi.org/10.2307/495635.

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4

Wang, Jiashen. "Exploring the New Interpretation of the Fengshen Story." Communication, Society and Media 7, no. 2 (2024): p1. http://dx.doi.org/10.22158/csm.v7n2p1.

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As a classic Chinese mythology novel, Fengshen yanyi (Investiture of the Gods) is famous for its cultural value, historical value and social value. The story of “Fengshen” is also considered a rich source of inspiration for entertainment and cultural industries in China, influencing a wide range of audiences with diverse backgrounds. As developing the potential “story universe” of Fengshen has become a hot topic in the Chinese film market, reinterpreting Chinese mythology needs to be focused on. Based on the case of the “Fengshen story”, this study aims to explore the new context of Chinese my

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5

Tu, Xiaofei, and Wendy Xie. "The Kojiki/Nihon Shoki Mythology and Chinese Mythology: Theme, Structure, and Meaning." Religions 12, no. 10 (2021): 896. http://dx.doi.org/10.3390/rel12100896.

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This essay will compare myths found in the Kojiki and the Nihon Shoki with thematically and structurally similar Chinese myths, and other Japanese texts, in order to shed light on the meanings of both Japanese and Chinese mythology. The authors’ approach is partly in the critical textual study tradition that traces back to Gu Jiegang and Tsuda Sokichi, and partly informed by comparative mythologists, such as Matsumae Takeshi, Nelly Naumann, and Antonio Klaus, with attention to Proppian and Levi-Straussian motifs in structural studies. First, we shall discuss some common themes in Chinese and K

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6

Milanova, Elitsa. "Chinese Mythology and Transmedia Storytelling." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 49, no. 2 (2024): 195–205. http://dx.doi.org/10.53656/for2024-02-08.

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The article analyzes the representation of Chinese mythology in the movie “Shang-Chi and the Legend of Ten Rings” and the movie as liguodidactic tool for learning Chinese language and culture. It studies the potential of lessons based on transmedia storytelling approach and transmedia storytelling products. Based on the new perception of knowledge as market product, the advantages of using marketing strategies for education are justified.

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Xinyu, Ye, and Muhammad Anas AL-Muhsin. "COMPARATIVE STUDY ON MYTH BETWEEN CHINESE AND ARABIC: PHOENIX AS AN EXAMPLE." International Journal of Humanities, Philosophy and Language 3, no. 10 (2020): 12–17. http://dx.doi.org/10.35631/ijhpl.310002.

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The myth of a nation reflects the collective memory of the nation and is the source of the philosophy, religion, and literature of the nation. Since the 1930s, mythological research has gradually emerged in China, but there are few comparative studies on Chinese and Arab mythology. Comparative study on myth between Chinese and Arabic: Phoenix as an example in terms of social values and national traits. This article is based on the specific exploration of the mythical image of Phoenix. The records of the Arab world for the phoenix are derived from some ancient Arabic books and this research on

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8

Akhmetbek, G., and R. Zhusupov. "A BRIEF HISTORY OF THE DEVELOPMENT OF CHINESE MYTHOLOGY." Bulletin of the Korkyt Ata Kyzylorda University 60, no. 1 (2022): 175–83. http://dx.doi.org/10.52081/bkaku.2022.v60.i1.023.

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Chinese mythology is rich in characters invented by the boundless fantasy of the human race, there are more than a thousand of them. Mythological works are directly related to literature, therefore legends and fairy tales, where these characters appear, influenced the literature of China, and sometimes even intersect with its history.At the beginning of our era, interest in China was focused on all the unusual and strange phenomena and things that could arise as a reaction to the "dry" practice of the followers of Confucianism. Remnants of myths, folk legends and beliefs began to appear on pap

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9

Zhu, Jialei, and Ruochen Wang. "Book Review: “Chinese Mythology Philosophy” by Ye Shuxian." Frontiers in Humanities and Social Sciences 5, no. 3 (2025): 474–79. https://doi.org/10.54691/xnd3ae78.

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Ye Shuxian's Chinese Mythology Philosophy is a distinctive theoretical work which explores mythological foundations of Chinese philosophical modes of thinking, focusing on the relationship between mythological and philosophical thinking, and the evolution of the philosophical embryo in myths into philosophy. It is a masterpiece in the study of Chinese mythology.

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10

Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.

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Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art a

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11

Wang, Xiaoyu. "A New Interpretation of the Traditional Ethnic Rational Spirit Presented by Ancient Chinese Myths." International Journal of Languages, Literature and Linguistics 8, no. 4 (2022): 313–16. http://dx.doi.org/10.18178/ijlll.2022.8.4.368.

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Ancient Chinese myths are the source of Chinese culture, contain the emotions and thoughts shared by the Chinese nation, and embody the spiritual soul of the Chinese nation. Ancient Chinese mythology is deeply rooted in China's long-standing cultural soil. It is a unique myth that grew up in China, and it permeates the light of oriental wisdom. Purposefully and selectively inheriting the precious spiritual cultural heritage in mythology has positive practical significance for us. The content of ancient Chinese myths is rich and allencompassing. The main feature is that it advocates reason and

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12

Liu, Yuqing. "A New Model in the Study of Chinese Mythology." Journal of Chinese Humanities 3, no. 1 (2017): 1–22. http://dx.doi.org/10.1163/23521341-12340040.

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Chinese mythology [shenhua 神話] does not exist independently as a cultural medium like mythology does in the West but, rather, comprises ideological and narrative forms that emerge according to historical and cultural trends. Not only have myths withstood humanity’s conquest of nature, but they have drawn and continue to draw on the mysteries of scientific development for new content. It is possible to identify three highpoints of creativity in the history of Chinese mythology, each corresponding to shifts in the function and nuance of myths. The first highpoint occurred very early on in China’

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13

Yoo, Chaewon. "Chinese Mazu mythology, historical evidence, Symbol." DAEGU HISTORICAL REVIEW 134 (February 28, 2019): 327–257. http://dx.doi.org/10.17751/dhr.134.327.

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14

Yang, won-seok. "Understanding of Chinese Mythology through the Chinese Etymological Origins." Journal of Japanese Studies 50 (January 31, 2017): 175–95. http://dx.doi.org/10.18841/2017.50.08.

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15

Li, Yanni. "Immersive Entertainment: The Reconstruction and Value Analysis of Chinese Mythology." Highlights in Business, Economics and Management 41 (October 15, 2024): 490–96. http://dx.doi.org/10.54097/3xs3y294.

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As an integral part of Chinese culture, Chinese mythology embodies rich historical, cultural, and philosophical connotations. With the accelerated development of the cultural and creative industry, Chinese mythology, with its rich content, imagery, and narratives, has gained favor among practitioners. It is deconstructed and reshaped in contemporary contexts, showing a trend of pan-entertainment in the field of cultural consumption. The immersive real-scene entertainment industry, a nascent sector in China with just over twenty years of development, utilizes advanced technologies to create mul

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16

YoonHee Hong. "From broader myth to broader mythology－ the extension of mythology by Yuan Ke and Chinese mythology today." Journal of the research of chinese novels ll, no. 33 (2011): 1–27. http://dx.doi.org/10.17004/jrcn.2011..33.001.

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17

Kong, Li. "Research on National Cultural Consciousness Construction and Strategy of Chinese New Mythological Animated Films--Taking Nezha: Birth of the Demon Child as an Example." Communications in Humanities Research 11, no. 1 (2023): 165–72. http://dx.doi.org/10.54254/2753-7064/11/20231409.

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Chinese neo-mythological films are emerging as a new genre of cinema, attracting more and more creators and audiences. Taking Nezha: Birth of the Demon Child, a representative of the new mythology animated films, as an example, this paper analyses the national cultural awareness embodied in the characterisation and social identity of Chinese new mythology animated films through a documentary research method, and points out that Chinese new mythology animated films can only be better developed if they take into account the nation-al culture and the characteristics of the times. That is, on the

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18

Wang, Yongyan, and Xiaoyue Wang. "The Global Dissemination of Chinese Culture through Black Myth Wukong: A Systematic Literature Review." Review of Communication Research 13 (February 20, 2025): 67–80. https://doi.org/10.52152/rcr.v13.6.

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The dissemination of Chinese culture through digital media has gained significant momentum, with video games emerging as powerful tools for cultural transmission. Black Myth: Wukong exemplifies this trend, blending traditional Chinese storytelling with modern gaming technology to introduce global audiences to Chinese mythology. This study employs a systematic literature review (SLR) to analyze how the game integrates traditional narratives, promotes Chinese cultural identity, and compares to other Chinese mythology-based games. The findings indicate that Black Myth: Wukong enhances cultural ap

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19

Lai, Whalen, and Anne Birrell. "An Anthology of Sources on Chinese Mythology." Asian Folklore Studies 55, no. 2 (1996): 319. http://dx.doi.org/10.2307/1178825.

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20

Ye, Chao, Ruishan Chen, and Craig Young. "Nian: when Chinese mythology affects air pollution." Lancet 383, no. 9935 (2014): 2125. http://dx.doi.org/10.1016/s0140-6736(14)61029-1.

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21

선정규. "Comparative Research on Chinese Classical Mythology and Greek Mythology - The Sinilarities and Uniqueness -." JOURNAL OF CHINESE STUDIES ll, no. 40 (2013): 213–46. http://dx.doi.org/10.26585/chlab.2013..40.009.

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22

Zheng, Yishuai. "Sisyphus and Wu Gang─Probing into Humanity and Divinity in Ancient Greece and China’s Legends." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 119–23. http://dx.doi.org/10.54097/ehss.v20i.11433.

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This article starts with "Sisyphus" and "Wu Gang" in Greek Roman mythology and Chinese mythology, and analyzes the humanistic deity in the two traditional cultures. Firstly, a brief introduction and comparison were made between the two legends, showcasing the different characteristics of humanistic divinity. Among them, Greek mythology emphasizes the value of human beings, while Chinese divinity emphasizes the harmonious coexistence and moral nature of human beings and nature. People's attention and belief in the two gods also reflect two different value orientations. Finally, this paper makes

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23

Prawira, Mentari Putrirahayu, Haryanto Haryanto, and M. Zahrul Jihadurrohim Bajuri. "The Presence of Spirituality in Contemporary Society as Depicted in the Chinese Animated Film Little Door Gods (2016)." Nitisara: Jurnal Ilmu Bahasa 2, no. 1 (2024): 1–6. https://doi.org/10.30998/ntsr.v1i2.2786.

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In contemporary times, rationalism has emerged as the fundamental principle of thinking, leading to the neglect of spiritual matters by society. The portrayal of this concept can be observed in the Chinese animated film called Little Door Gods (2016), helmed by director Gary Wang. This study seeks to examine how the animated film "Little Door gods" portrays spirituality in contemporary society. This study use the Boggs and Petrie film theory (2017) to examine the progression and context of the film narrative, which serves as the research data. Barthes's semiotic theory, introduced in 1972, is

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24

Pan, Hon Engi. "Chinese National Traditions in the Musical Poetry of the Piano Concert "The Four Spirits" by Chen Yi." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 1 (2018): 101–11. https://doi.org/10.31866/2616-7581.1.2018.146265.

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Genre of the piano concert holds a prominent place in the works of contemporary Chinese composers. The interest is due to the integration of Chinese culture into the Western music world, the awareness of piano versatility for national musical material adaptation. Article analyses for the first time one of the most recently written works of the contemporary Chinese-American composer Chen Yi – the piano concert “The Four Spirits” (2016). The purpose of the article is to determine the effect of ancient Chinese mythology on the content and structure of the piano concert “Th

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25

Zhou, Min, and Yan Wang. "A Comparison Between the Goddess Image in Ancient China and Ancient Greek Mythology from the Perspective of Female Values." Learning & Education 8, no. 2 (2019): 5. http://dx.doi.org/10.18282/l-e.v8i2.1108.

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<p>Mythology, as a special cultural carrier, can reflect people’s spiritual values in a certain period and region. In ancient Chinese mythology and ancient Greek mythology, there are some goddess with similar attributes or symbolic meaning. Their symbolic attributes essentially represent some specific areas of women’s values, such as fertility, wisdom, love and marriage. Based on the mythology of ancient China and Greece as well as the ancient social background of the two countries, this paper analyzes and compares the goddess images in the myths of the two countries from the perspective

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26

Mcneal, Robin. "Constructing Myth in Modern China." Journal of Asian Studies 71, no. 3 (2012): 679–704. http://dx.doi.org/10.1017/s0021911812000630.

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This study presents an overview of attempts by Chinese literati during the twentieth century to articulate a coherent Chinese mythology, primarily based on ancient texts but eventually to some extent drawing from ethnographic materials and folklore as well, and all much beholden to Western examples such as Greek and Norse mythology. This examination of text-based activities sets the stage for an inquiry into a wave of monument building during the Reform Era, much of which has celebrated China's ancient myth, history, and legend. A recent park in Wuhan dedicated to the legendary sage ruler and

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Diatlov, Victor I., and Elena V. Diatlova. "“Demographic Expansion” – Russian-Chinese Marriages in Migration Mythology." Journal of Siberian Federal University. Humanities & Social Sciences 10, no. 11 (2017): 1654–63. http://dx.doi.org/10.17516/1997-1370-0163.

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28

Zhao, Qiguang. "Chinese Mythology in the Context of Hydraulic Society." Asian Folklore Studies 48, no. 2 (1989): 231. http://dx.doi.org/10.2307/1177919.

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29

Al-Rawi, Ahmed. "The Rukh and the influence of Chinese mythology." International Communication of Chinese Culture 2, no. 3 (2015): 223–33. http://dx.doi.org/10.1007/s40636-015-0023-0.

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30

Wei, Huige, Dapeng Cui, Junhui Ma, et al. "Energy conversion technologies towards self-powered electrochemical energy storage systems: the state of the art and perspectives." Journal of Materials Chemistry A 5, no. 5 (2017): 1873–94. http://dx.doi.org/10.1039/c6ta09726j.

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31

Jiao, Xinbo. "Comparison of Chinese and Western Civilizations: A Case Study of Mainstream Creation Mythologies." International Journal of Education and Humanities 14, no. 2 (2024): 27–30. http://dx.doi.org/10.54097/m28xsv31.

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Creation myth not only records the birth of all things in the world, but also reflects the understanding of different nationalities on the origin. Due to the differences among nations, the creation myths reflect different national characteristics with universality. This paper makes a comparative study of Greek creation myth, Bible creation myth, Chinese mainstream myth of creation, "Pangu opens heaven" and "Nuwa creates humankind". It is found that the hero worship color dominated by nature worship in Greek mythology and the three classes of "Superman-Nature-Mortal", the nature worship color d

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Jiang, Yunshan. "A Comparative Analysis of Female Consciousness in Chinese and Western Mythology." International Journal of Education and Humanities 11, no. 2 (2023): 87–90. http://dx.doi.org/10.54097/ijeh.v11i2.13540.

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Female consciousness is an important discussion topic about women in Chinese and Western mythology, and it is also the self-confidence and consciousness of women for their own life experience and value significance in male political society. The similarities and differences of female images in Chinese and Western myths reflect the differences of female status and values in different cultures. The expression of female consciousness in mythology highlights the values of self-liberation and independence of women in the early period of social history. This paper chooses two samples of Xiwangmu(In

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33

Zheng, Wenxuan. "The role of black color in the history of Russian, French and Chinese mythology and folklore." Genesis: исторические исследования, no. 5 (May 2024): 46–55. http://dx.doi.org/10.25136/2409-868x.2024.5.70659.

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The subject of the article is the symbolic meaning of black color in the culture and folklore of various civilizations, especially in the Russian, French and Chinese traditions. The research aims to identify the evolution of the perception of black color over time and its role in religious, mythological and socio-cultural contexts. The author examines the transformations of the symbolism of the black color, its connection with myths, rituals and ideas about the world in various cultures, as well as its significance as a reflection of social and cultural norms and values. The research is aimed

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34

Hu, Liu. "Images of ‘Bad Weather’ in the Folk Mythology of Asia and Europe (Based on Chinese and Serbian Traditions)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 52–62. http://dx.doi.org/10.17072/2073-6681-2021-4-52-62.

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The article deals with mythological characters that represent ‘bad weather’ phenomena such as drought, hail, whirlwind, thunder, and lightning. Folk ‘lower’ mythology pays much attention to the manifestations of bad weather, which reflects the understanding of nature by man. Many ancient Chinese myths and legends originated in Shandong province, where numerous meteorological mythological motives were created. At that time, human life depended on weather, therefore a lot of folklore rich in meteorological mythological motives and imagery was created. The representations of bad weather in Shando

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35

Feng, Jing. "Modern Transformation of the Image of the Mythological Hero of Chinese Classical Culture in Animated Films." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 31, no. 1 (2025): 177–87. https://doi.org/10.15826/izv1.2025.31.1.016.

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Mythology is a people’s common memory and an important part of the cultural code. In recent years, Chinese animated films have used elements of traditional Chinese mythology, created modern images of mythological heroes, and modernized and transformed traditional Chinese culture. Based on the theory of mythological archetypes, this paper compares the images of the mythological hero Nezha in the classical Chinese text “Investiture of the Gods” and the modern animated film “Nezha: Birth of the Demon Child” in terms of his attitude to fate, character evolution and behavior. The transformation of

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36

LaFleur, Robert André. "Time, space, and the calendar in early Chinese mythology." International Communication of Chinese Culture 8, no. 1 (2021): 65–82. http://dx.doi.org/10.1007/s40636-021-00214-4.

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37

Zhang, Yun-chao, Yi-xuan Zhou, and Wei-guang Gao. "Generative AI Chinese Mythology Animation Traditional Building Production Research." Journal of Communication Design 89 (October 30, 2024): 214–24. https://doi.org/10.25111/jcd.2024.89.16.

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38

Yan, Niu. "The polygenetic nature of K.D. Balmont's poetics and cultural traditions of ancient China." Solov’evskie issledovaniya, no. 1 (March 30, 2024): 125–37. http://dx.doi.org/10.17588/2076-9210.2024.1.125-137.

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The article discusses the polygenetic nature of K.D. Balmont's poetics on the basis of underinvestigated materials related to ancient Chinese cultural traditions by using the principles of comparative studies, historical poetics, hermeneutics and the mythopoetic method. The object of the analysis is the “Chinese” cycle, consisting of five sonnets included in Balmont's collection of poems “Sonnets of the Sun, Honey and Moon. Song of the Worlds” (1917). Special attention is paid to the analysis of the mythological images, motives and plots in these poems, identifying their sources and revealing

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Wang, Tianran. "The Nature and Morphology of the Yellow Springs Land of Japan: Examples from the Kojiki and Niyonshuti." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 237–43. https://doi.org/10.54097/q2mr6j60.

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This paper examines the nature and form in which the term ‘Yellow Spring’ is expressed. The Chinese word ‘huangquan’ means ‘yellow spring’. Beginning with the introduction of the term ‘Yellow Spring’ from China to Japan, the paper explores the role of ‘Yellow Springs Land’ in Japanese mythology from the textual descriptions of ‘Izanagi and Izanami’, ‘Three Precious Children' and “Ohokuninushi” to explore the status of “Yellow Springs Land” in Japanese mythology and the degree to which serves as a place of death in Japanese mythology. In addition, these textual records are combined with the map

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Pulkkinen, Tuuli, Mia Vepsäläinen, Henna Konu, Katja Pasanen, and Raija Komppula. "Mytologiasta vetovoimaa? – Kalevalan kiinnostavuus itäaasialaisten kohderyhmien näkökulmasta." Matkailututkimus 19, no. 1 (2023): 6–28. http://dx.doi.org/10.33351/mt.122979.

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Myths and legends are representative of the unique cultural aspects of ethnic communities and, thus,fruitful resources of meaningful stories that can attract tourists and simultaneously convey meaning to their experiences. This study aims to increase understanding of the attractiveness of mythology-based tourism products among East Asian target markets. The aim is to examine how interested Chinese, Japanese and Koreans are in products that are based on stories and themes of Finnish mythology, as represented in the Finnish national epic Kalevala. Thematic interviews were conducted among Chinese

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Li, Ruijun. "The Application of Traditional Chinese Cultural Elements in Fantasy Costume Drama - A Case Study of “Love Between Fairy and Devil”." SHS Web of Conferences 159 (2023): 02004. http://dx.doi.org/10.1051/shsconf/202315902004.

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The spread of Chinese TV dramas cannot be separated from the strong underpinnings of Chinese stories. Strengthening the multifaceted presentation of traditional culture is an indispensable element in creating quality TV dramas with culture, connotation and Chinese characteristics. With a unique oriental narrative and a unique oriental romantic audio-visual language, the fantasy ancient idol drama “Love Between Fairy and Devil” restores a beautiful oriental fantasy world, which helps to reshape the audience’s visual imagination of Chinese classical mythology, conveys the unique charm of Chinese

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Milanova, Elitsa. "Computer Games Based on Mythology – a Way to Escape Reality or New Horizonts for Teaching." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 51, no. 6 (2024): 758–68. https://doi.org/10.53656/for2024-06-07.

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The article analyzes the representation of Chinese mythology in computer games and computer games as part of the liguodidactic instrumentarium of competence approach to learning Chinese language and culture. It studies the potential of lessons based on linguocultural analysis of information distortion of mythological creatures in computer games. The advantages of computer games for general personal and specific language progress of the students are justified.

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Qin, Jiayang. "How to Retell the Chinese Myths in the Neo-Mysticism: The Analysis of the Chinese Mythology Game." Highlights in Art and Design 4, no. 3 (2023): 91–95. http://dx.doi.org/10.54097/lb6vt890.

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Under the cultural wave of "neo-mysticism" in the 1990s, countries began to carry out "myth retelling" activities. It subverts traditional mythological values, deconstructs and constructs the meaning of traditional mythology, and embodies the value of contemporary mythology. In the context of contemporary neo-mysticism, the retelling of myth has been inextricably linked with the cultural production focusing on content and creativity. As a new mass culture consumer goods after film and television and music, with the help of the communication advantages of new media, the scope of cultural radiat

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44

Ermakova, Liudmila M. "ON SOME CONTINENTAL MOTIFS IN JAPANESE MYTHOLOGY." Folklore: structure, typology, semiotics 7, no. 4 (2024): 42–64. https://doi.org/10.28995/2658-5294-2024-7-4-42-64.

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It is believed that the Proto-Japanese ethnos was formed on the Islands during the Yayoi period (2nd century B.C. to 4th century A.D.) This was the time of numerous migrations from the Korean peninsula, and various groups of migrants relocated to the Japanese Islands and brought with them the techniques of rice cultivating, bronze and iron production, silk weaving, the main ritual symbols of power – the mirror and the sword, and many other innovations. Powerful migrations from the neighboring peninsula for various military and political reasons continued in the next period named Kofun, which i

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45

Yoo, Sumin. "Inventing the Modern Mythology: Chinese 3D Animation Ne Zha (2019)." Korea Journal of Chinese Language and Literature 78 (December 31, 2019): 249–85. http://dx.doi.org/10.46612/kjcll.2019.12.78.249.

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Riftin, Boris, Boris Parnickel, Li Shujiang, and Karl W. Luckert. "Mythology and Folklore of the Hui: A Muslim Chinese People." Asian Folklore Studies 57, no. 2 (1998): 370. http://dx.doi.org/10.2307/1178766.

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JUNGJAESEO. "Chinese Myths in Choi, Namsun’s Mythology and It’s Cultural Meaning." Journal of the research of chinese novels ll, no. 35 (2011): 385–401. http://dx.doi.org/10.17004/jrcn.2011..35.017.

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Grozin, Andrey. "KAZAKH-CHINESE COOPERATION IN THE ENERGY SECTOR AND XENOPHOBIC MYTHOLOGY." Россия и Китай: история и перспективы сотрудничества, no. 1 (2022): 465–75. http://dx.doi.org/10.48344/27823768_2022_12_465.

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Huang, Hua-Lun. "Ritual & Mythology of the Chinese Triads: Creating an Identity." Crime, Law and Social Change 41, no. 3 (2004): 283–88. http://dx.doi.org/10.1023/b:cris.0000024475.52780.b2.

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Ownby, David, and Berend J. ter Harr. "Ritual and Mythology of the Chinese Triads: Creating an Identity." Harvard Journal of Asiatic Studies 60, no. 1 (2000): 324. http://dx.doi.org/10.2307/2652713.

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