Chinese music stars who deceased at age 61
Here are 6 famous musicians from China died at 61:
Puyi
Puyi (February 7, 1906 Beijing-October 17, 1967 Beijing) also known as Aisin-Gioro Puyi, Xuantong Emperor, Pu-i, Pu Yi Aisin-Gioro, Kangde, Henry Pu-yi, Mr. Puyi, Mr. Pu-i, Mr. Fugi, Yaozhi, Haoran, Xuantong, The Last Emperor, The Last Emperor of the Qing Dynasty, Xun Di, Fei Di, Qing or Kangde Emperor was a Chinese personality.
Puyi was the last emperor of China, who ascended to the throne at the age of two following the abdication of his uncle. He was the nominal ruler of China until the revolution of 1911, which overthrew the Qing dynasty. After his abdication, Puyi was forced to leave the Forbidden City and became a puppet emperor of Manchukuo, a state established by Japan in Northeast China. He was later captured by the Soviet Union in 1945 and imprisoned until 1950, when he was handed over to the People's Republic of China government. During the Cultural Revolution, Puyi was forced to undergo "rehabilitation" and participated in various manual labor tasks. He later worked as a gardener, librarian, and researcher in the Palace Museum in Beijing until his death in 1967.
Puyi was born into the Aisin-Gioro clan, the imperial family of the Qing dynasty, on February 7, 1906, in Beijing. His birth name was Henry Pu-yi, but he was later given the reign title Xuantong when he ascended the throne. Following the end of the Qing dynasty in 1912, Puyi's life took a turn, as he was forced to abdicate the throne and leave the Forbidden City.
During his time in Manchukuo, Puyi was installed as the 'Emperor of Manchukuo' by the Japanese, but was ultimately powerless. After the Japanese were defeated in the Second World War, Puyi was captured by the Soviet Union and imprisoned on charges of war crimes. During his confinement, Puyi was subjected to interrogation and questioning but was later released in 1950 and returned to China.
Following his imprisonment, Puyi was forced to submit to the Communist government's political re-education, where he was taught about the devastation that the imperial system had wrought upon China. Puyi was eventually allowed to return to Beijing, where he worked at the Palace Museum as a gardener, librarian, and researcher.
Despite being removed from the throne and compelled to live a difficult life with numerous controversies, Puyi still remains a legendary and enigmatic character, who has been portrayed in books, movies, and documentaries. His story, which spans the end of the imperial era in China to the advent of Maoist China, remains a fascinating window into the past of this great country.
Puyi's life was documented in his autobiography, "From Emperor to Citizen." The book covered his life from childhood until his imprisonment by the Soviet Union. It was later adapted into a film by director Bernardo Bertolucci, titled "The Last Emperor," which won nine Academy Awards, including Best Picture, in 1988. Puyi's life and legacy continue to fascinate historians and the public alike, as he represents the end of an era in Chinese history and the beginning of a new, Communist China. Despite his troubled life, Puyi is remembered for his humility and forgiveness towards those who wronged him, and for his willingness to learn and accept his place in history.
He died as a result of cardiovascular disease.
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Kuei Chih-Hung
Kuei Chih-Hung (December 20, 1937 Guangzhou-October 1, 1999 Los Angeles) also known as Chih-Hung Kwei, Chih-Hung Kuei, Gui Zhi-Hong, Kwei Chi Hung, Chi Hung Kwei, Gwai Chi Hung, Kuei Chih-hung or Chi-hung Kwei was a Chinese film director and screenwriter. He had one child, Ming Beaver Kwei.
Kuei Chih-Hung was a prolific director, having directed over 50 films during his career which spanned over two decades. He was considered a pioneer in the Hong Kong film industry and was known for his contributions to the horror, martial arts, and erotica genres. Some of his notable films include "Bamboo House of Dolls" (1973), "The Killer Snakes" (1975), and "Corpse Mania" (1981). Kuei was also a screenwriter and producer, and he founded his own production company in 1973, the Kuei Brothers Film Company. He was highly respected in the film industry and received numerous awards throughout his career. Despite his success, Kuei faced criticism for the erotic and violent content of some of his films. However, he defended his work, stating that he was simply reflecting the reality of society. Kuei's legacy lives on as his films continue to be celebrated by fans of Hong Kong cinema.
Apart from being a director and screenwriter, Kuei Chih-Hung also acted in several films, including "The Boxer's Omen" (1983) and "The Trail" (1983). He was known for his unique style which often included shocking and disturbing scenes, but also had a touch of dark comedy. Kuei was also recognized for his efforts in promoting Cantonese culture through his films. He was a founding member of the Hong Kong Directors' Guild and served as its vice-chairman. In addition, Kuei was a mentor to many aspiring filmmakers and his influence can still be seen in modern Chinese cinema. He was honored with a posthumous lifetime achievement award at the Hong Kong Film Awards in 2000.
Kuei Chih-Hung began his career in the film industry as an assistant director for Shaw Brothers Studio in Hong Kong. He worked on a number of films including "One-Armed Swordsman" (1967) directed by Chang Cheh. It was Cheh who gave Kuei his first opportunity to direct a feature film, "The Teahouse" (1974). The film was a critical and commercial success and marked the beginning of Kuei's career as a director.
Kuei is best known for his contributions to the horror genre in Hong Kong cinema. His films often explored the dark side of human nature and were noted for their graphic violence and sexually explicit content. Kuei had a talent for creating suspense and his films were often characterized by unexpected twists and turns. Some of his most famous horror films include "The Killer Snakes," "Hex," and "The Boxer's Omen."
In addition to horror, Kuei also directed a number of martial arts films. He worked with the legendary martial artist Jimmy Wang Yu on several films including "The Man from Hong Kong" (1975) and "Master of the Flying Guillotine" (1976). Kuei was known for his innovative fight choreography and his use of slow motion and other special effects to enhance the action.
Kuei's influence on Hong Kong cinema cannot be overstated. He was a pioneer in his field, pushing boundaries and challenging conventions. His films were groundbreaking and helped pave the way for future generations of filmmakers. Kuei's legacy continues today as his films continue to be watched and admired by audiences around the world.
He died in liver cancer.
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Fan Changjiang
Fan Changjiang (October 6, 1909 China-October 23, 1970 Henan) a.k.a. Fan Xitian was a Chinese journalist and writer.
Fan Changjiang was born in Shandong Province, China. He graduated from the Department of Chinese at Peking University in 1932, and afterwards worked in various newspapers including the Ta Kung Pao, the Central Daily News, and the Lingnan Morning Post. He was a prolific writer, producing many novels and essays during his career. He is best known for his novels that portrayed the lives of ordinary people in China, including "Homecoming," "Rains in Autumn," and "The Golden Age," which became popular among readers. In addition to his writing, Fan was also an advocate for press freedom and an opponent of totalitarianism. He was imprisoned by the government multiple times for his outspoken views. Sadly, Fan died at the age of 61 due to illness. His legacy as a writer and journalist remains an important part of Chinese literature and history.
During his tenure as a journalist, Fan Changjiang covered significant events in Chinese history, such as the Japanese invasion of China, the Second Sino-Japanese War, and the Chinese Civil War. He was also known for his critical writings on social issues, including poverty and the plight of farmers in rural areas. Fan's work influenced a generation of Chinese writers and earned him several accolades, including the prestigious Mao Dun Literary Award in 1957.
In addition to his literary accomplishments, Fan was also active in politics and served as a member of the National People's Congress. He was a vocal critic of the Cultural Revolution and was briefly detained during that tumultuous period. Despite facing significant political and personal challenges, Fan remained committed to using his voice to speak out for the common people and fight for justice.
Today, Fan Changjiang is remembered as one of China's most important writers and journalists of the 20th century. His contributions to Chinese literature and his dedication to promoting democracy and free speech continue to inspire generations of Chinese people to this day.
Fan Changjiang was also known for his unique writing style, which was characterized by his use of simple language and vivid descriptions of everyday life. He believed in the power of literature to educate and inspire people, and his work reflected his commitment to this belief. Despite his success as a writer, Fan struggled with financial difficulties for much of his life. He often had to rely on the support of friends and family to make ends meet, and he was unable to achieve the financial stability that he felt he deserved. Nonetheless, Fan remained dedicated to his craft until the end of his life. He continued to write, even as his health began to decline, and his work continued to be influential long after his death. Today, his novels remain popular among readers in China and around the world, and his legacy as a writer and journalist continues to be celebrated by scholars and literary critics.
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Lu Xiaoman
Lu Xiaoman (September 1, 1903 China-April 1, 1965) also known as Mei was a Chinese painter.
She was known for her contribution to the modernization of Chinese painting. Lu Xiaoman belonged to the "Shanghai School" of modern Chinese painting, a group of artists who aimed to innovate traditional Chinese art with Western painting techniques.
In addition to painting, Lu Xiaoman was also a talented calligrapher and musician. She was skilled in playing the guzheng, a traditional Chinese stringed instrument, and was involved in the production of music for film and theatre.
Lu Xiaoman's works can be found in many museums and galleries around the world, including the British Museum in London and the National Museum of Women in the Arts in Washington D.C. Her legacy as a pioneer of modern Chinese painting continues to inspire new generations of artists.
Lu Xiaoman was born into a prominent family in Jiangsu province, China. She began studying traditional Chinese painting at a young age, but later became interested in Western-style painting after being exposed to it at school. In 1923, she moved to Shanghai and joined the Shanghai Art Academy, where she studied under renowned artist Wu Changshuo. She was one of the few female students in the academy and faced many obstacles due to societal conventions at the time.
Lu Xiaoman gained recognition as an artist in the 1930s and 1940s, during a period of significant political and social upheaval in China. She became known for her unique style, which blended traditional Chinese techniques with Western-style brushwork and perspective. Her paintings often featured elegant women, rural landscapes, and historical scenes.
In addition to her artistic talents, Lu Xiaoman was also known for her involvement in cultural and political activities. She was a member of the China Democratic League and advocated for the rights of women and artists. During the Japanese occupation of Shanghai in the 1940s, she continued to create art and provided support to other artists who were struggling during the war.
Despite facing many challenges throughout her life, Lu Xiaoman continued to create art until her death in 1965. Her contribution to the development of modern Chinese painting and her influence on subsequent generations of artists has been widely recognized. In 1999, the Shanghai Art Museum held a retrospective exhibition of her work, which drew large crowds and helped to cement her legacy as one of the most important artists of her time.
Lu Xiaoman's passion for art extended beyond painting and calligraphy. She was also a pioneer in the field of music, co-founding the "Dawn Society," a group dedicated to the promotion of modern music in China. Lu Xiaoman and her fellow musicians incorporated elements of traditional Chinese music into their compositions, which were well-received by audiences in Shanghai.
In addition to her artistic and cultural pursuits, Lu Xiaoman was also a mother of three children. Her daughter, Pan Yuliang, followed in her footsteps and became a successful painter, specializing in Western-style nudes.
Lu Xiaoman's life and legacy are a testament to the power of perseverance and innovation in the face of adversity. Despite the challenges she faced as a female artist in a male-dominated field and the political turmoil of her time, she remained steadfast in her commitment to creativity and cultural exchange. Her contributions to the world of art and music continue to inspire and enrich audiences around the world.
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Wang Jingwei
Wang Jingwei (May 4, 1883 Sanshui District-November 10, 1944 Nagoya) also known as Jingwei Wang was a Chinese politician. His children are called Wenjin Jingwei, Wenxing Jingwei, Wang Wenbin Jingwei, Wenxun Jingwei and Wenti Jingwei.
Born in Guangdong Province, China, Wang Jingwei became involved in politics at an early age and played a significant role in the Xinhai Revolution of 1911 that overthrew the Qing Dynasty. He went on to become a prominent member of the Kuomintang political party, serving as both the governor of Guangdong Province and the mayor of Shanghai.
However, in 1927, he broke with the Kuomintang and formed his own political party, the China Nationalist Party. As tensions between the Chinese Communists and Nationalists grew, Wang Jingwei increasingly turned towards collaboration with the Japanese occupation forces during World War II.
After the fall of Nanjing to the Japanese in 1937, Wang Jingwei was appointed head of a puppet government in the city, leading a collaborationist regime known as the Reorganized National Government of the Republic of China. His decision to work with the Japanese led to widespread condemnation within China and he is still a controversial figure today.
Despite being reviled by many in China, Wang Jingwei's legacy continues to be studied by historians and political scientists, with some arguing that his collaboration with the Japanese was an attempt to preserve China's independence and secure better conditions for the Chinese people.
Wang Jingwei's political career spanned over three decades, during which he was involved in numerous political upheavals in China. He was known for his early advocacy for constitutional monarchy and his support for Sun Yat-sen's Three Principles of the People. Later, he became an advocate for the pragmatic measures to promote social welfare and economic stability in the country.
Despite his collaboration with the Japanese, Wang Jingwei was also a critic of colonialism and imperialism. He was an advocate for the "Asia for Asians" movement, which sought to reduce the influence of Western powers in Asia and promote closer cooperation among Asian nations.
Wang Jingwei is remembered as one of the most prominent political figures of early 20th-century China. His legacy continues to be debated and evaluated by historians and political scientists, with many considering him a tragic figure who was caught between conflicting political and ideological interests.
During his time as a prominent political figure, Wang Jingwei also authored several books and essays on topics such as political philosophy and economic policy. He was known for his advocacy for social reform and his belief in the importance of education as a means of modernizing China. In addition to his political career, Wang Jingwei was also a skilled calligrapher and painter. His artwork was often featured in exhibitions and he was considered one of the leading cultural figures of his time. Despite his controversial legacy, Wang Jingwei's contributions to Chinese politics and culture continue to be studied and analyzed by scholars around the world.
He died caused by pneumonia.
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Li Wangyang
Li Wangyang (November 12, 1950 Hunan-June 6, 2012 Shaoyang) was a Chinese personality.
Li Wangyang was a Chinese labor activist and one of the leaders of the pro-democracy movement in China. He was jailed for his activism during the Tiananmen Square protests in 1989 and spent over two decades in prison. Despite being partially blind and deaf due to torture and mistreatment in prison, Li continued to advocate for workers' rights and political reform in China. In 2001, he was released on medical parole, but was kept under close surveillance and continued to face harassment from authorities. His death in 2012, which was ruled a suicide by Chinese authorities, sparked outrage and calls for an investigation into his death. Many human rights advocates believe that Li's death was a result of foul play and continue to demand justice for him.
Li Wangyang was a prominent figure in the Chinese democracy movement and his activism and sacrifices have become a symbol of resistance against the authoritarian rule of the Chinese Communist Party. He was an advocate for workers' rights and was involved in organizing strikes and protests in Hunan province during the 1980s. Li was imprisoned for 22 years and maintained his outspokenness and defiance against the government throughout his confinement. He smuggled out articles and letters detailing his mistreatment and torture in prison, which raised awareness about the Chinese government's human rights abuses.
Li's death in 2012 was met with suspicion and disbelief by many of his supporters and the international human rights community. The Chinese government's official report stated that Li committed suicide, but details surrounding his death and the circumstances leading up to it remain murky. The authorities cremated Li's body without his family's consent, which raised concerns that they were attempting to cover up the truth. Despite the attempts to silence Li, his legacy lives on as a symbol of courage and perseverance in the face of oppression. His story has inspired many to continue the fight for democracy and human rights in China.
Li Wangyang's death was not without controversy. Many of his supporters and international human rights organizations expressed suspicion surrounding the Chinese government's official report on his suicide. Some believed that he was killed in retaliation for his activism and outspokenness against the government. Others pointed to the suspicious circumstances surrounding his death, including the fact that he was found hanging in his hospital room despite being partially paralyzed and having poor eyesight. Additionally, his family was not allowed to view his body before it was hastily cremated, leading many to believe that the authorities were attempting to cover up any evidence of foul play.
Despite the controversy surrounding Li's death, his legacy has lived on as a symbol of courage and sacrifice in the face of oppression. His story has inspired countless others to stand up for their beliefs and fight for democratic freedoms and human rights. Even in death, Li Wangyang remains a powerful source of inspiration for those who seek to create a more just and equitable society in China and beyond.
He died in hanging.
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