In ancient China, every young scholar's highest aspiration was to pass the imperial exams and climb up the ranks as a civil servant. The official's hat was a status symbol and receiving one was a crowning glory. One such scholar, however, is given a rare invitation to eternal life in the heavens. But can he see through the temptations of the mortal world and realize that all things gained here are but dust in the wind?

In the courtyard of the Tang Dynasty (618-907) royal palace, ladies dance in elegant dresses with billowing sleeves. Noble and majestic, their movements capture their regal bearing and grace. Each dynasty had its own unique attire, and the grand Tang sleeves are a testament to this flourishing era.

In this piece, the ladies dance with long, flowing "water sleeves" reminiscent of those used in China many centuries ago. The dancers' movements are gentle yet lively, embodying the dual nature of water.

A tranquil lake shimmers at the foot of a majestic palace. We are now in the Tang Dynasty (618-907), often considered China's cultural golden age. Here, the ladies cast aloft their long, silky sleeves. As the "water sleeves" cascade through the air, the dancers breathe life into an era of ancient splendor.

A tranquil lake shimmers at the foot of a majestic palace. We are now in the Tang Dynasty (618-907), often considered China's cultural golden age. Here, the ladies cast aloft their long, silky sleeves. As the "water sleeves" cascade through the air, the dancers breathe life into an era of ancient splendor.

In traditional Chinese culture, peaches have long symbolized longevity and even immortality. In this dance, celestial fairies have come to pick peaches and delight in the heavenly harvest.

As the bustling palace settles down for the night, stone lamps lining the walkways gently glow, and the soft notes of a dreamy melody waft through the courtyard. One particular pavilion is illuminated by dancing flames as court ladies bearing exquisite bronze lanterns glide to and fro.

Both dance (wudao) and martial arts (wushu) are deeply rooted in the five thousand years of Chinese civilization. They are like two sides of the same coin: the same deadly technique that is used for battle can also be performed in a different style, becoming part of a beautiful dance. Classical Chinese dance emphasizes balance and roundness of movements, and in this dance the balance of the opposite forces of soft and hard, deadly and beautiful, and yin and yang come into play.

Under a bright full moon on a blissful evening, the ladies' delicate dance movements give free play to their inner world. This expressiveness of the soul via dance is called yun in Chinese (this is the same yun as in the name Shen Yun). Sometimes translated as "bearing," yun is a central part of these dancers' training. It is the cultural and spiritual core expressed in the feeling of each dance movement. Simply put, yun is a reflection of a dancer's inner beauty.

Rich in inner meaning and expression, classical Chinese dance centers around the concept of yun (the same yun as in the name Shen Yun). Often translated as "bearing" or "feeling," yun enables performers to convey deep emotions as well as their own internal qualities. Each movement, executed with precision and grace, is a reflection of the dancer's inner world.

Classical Chinese dance emphasizes the feeling behind a movement, known as yun (the same yun as in the name Shen Yun). Each movement, executed with precision and grace, is a reflection of the dancer's inner world.

Classical Chinese painting is concerned less with precision and more with feelings. The artistic conception, or Yi Jing in Chinese, is the mood conveyed by a work of art. In this story, young scholars ponder the meaning of life. They have gathered around an unfinished poem: "In youth, my heart determined, Admiring the heroes of yore. Returning home with glory..." Lost in thought, they are struck with a perfect last line: "This life, what is it for?"

The year is 494 B.C. It is China's turbulent Spring and Autumn period, and the King of Wu has just won a war against the King of Yue. The victorious king demands everyone submit before his portrait. The defeated king begs for mercy, but is actually biding time before his revenge. One day, the defeated king and his trusted official chance upon an unknown village girl named Xi Shi. Struck by her beauty, they make her the center of their plan and send her to distract the King of Wu. He is enchanted by her at once and, despite his advisors' counsel, spends all his time with her, neglecting state affairs. As he shows her kindness, the lady develops feelings for him, too. But, there are more important matters at hand.

Chinese lore is rich with tales of mystical beings who visit the human world. Among them is the moon goddess, Chang'e, who lives in a celestial palace with a host of fairies to keep her company. In this story, we follow one of China's greatest emperors, Tang Taizong (598-649), on the night of the Moon Festival. As the Emperor wistfully gazes at the autumn sky, he drinks in homage to the moon and its mysteries. On a whim, he decides to leave the imperial grounds to take in the festivities. Accompanied by his advisor, a Taoist sage, the Emperor is suddenly captivated by a lady of otherworldly grace. What happens next, they say, is a thing of legends.

The historical novel Romance of the Three Kingdoms brims with tales of valor and ingenuity. In it, a tyrannical warlord named Dong Zhuo and his adopted son Lü Bu have taken control over the Han Dynasty. One loyal official devises an ingenious plan to break their alliance with the help of his adopted daughter, Diao Chan. Gentle yet strong, Diao Chan embodies virtue and sacrifice, enduring humiliation to serve her nation and repay her adoptive father's kindness.