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 (gwē′jō′, gwā′-) also Kwei·chow (kwā′chō′)
A province of southwest China. Guiyang is the capital.


(ˈɡweɪˈdʒəʊ) ,




(Placename) a province of SW China, between the Yangtze and Xi Rivers: a high plateau. Capital: Guiyang. Pop: 38 700 000 (2003 est). Area: 174 000 sq km (69 278 sq miles)



1. Also, Kweichow. a province in S China. 34,580,000; 67,181 sq. mi. (173,999 sq. km).Cap.: Guiyang.
2. former name of Fengjie.
References in periodicals archive ?
Whitley R, Soong S, Dolin R, Galasso GJ, Ch'ien LT, Alford CA.
An English version is available, translated by Goodrich and Ch'ien (1966).
Hightower, The Poetry of T'ao Ch'ien (Oxford: Oxford Univ.
In-between scenes a thousand miles from this ward, crowded yet receding, days when air was still clear, perhaps a little raw, a village, primary colors, the kitchen where I memorized idioms and T'ao Ch'ien and love poems, sesame cakes, Shanghainese dumplings to steam with napa cabbage, a stone house gone in flames on your sixtieth birthday.
Pai's story follows Madam Ch'ien through the luscious garden of the Tou villa and into the party hosted by Madame Tou.
He also wrote many essays on Chinese culture, such as Sung Culture, Science and Civilization in China, The Tao of Painting, The Chinese Classic Novel in Translation, Lao Tzu, Tao Te Ching, Tu Fu:Poems, Ssu-ma Ch'ien, Records of the Grand Historian of China.
With the continued focus on LED artworks, The Secret Collection expands Liu Dao's repertoire and uses their semi-fictional character Yuan Meng Ch'ien to create a series of artifacts that may have populated his home.
Ch'ien, Graduate Program Administrator, The University of Chicago, Department of Anthropology; and Professor Yarimar Bonilla, Rutgers University, Department of Anthropology.
Perhaps Wu Li deserves the final word on this matter, through the medium of one of his "aria" poems, "To the Tune, Hsi ch'ien ying" ("Delighted With the Oriole Messenger," a title identifying the pattern of line-lengths but having nothing to do with the content).
In it were poems by Li Po ("the high heavenly priest of the White Lake," Charles calls him in "Portrait of the Artist with Li Po"), Tu Fu, T'ao Ch'ien, and Wang Wei--master eremites all.
While the personalities and impact-strategies differ radically among Chen Yeng the traditionalist, Chao Hwei the activist, Kuan Ch'ien the academic aesthete, and Ching Hai the New Age guru, they all have garnered international acclaim and support for their relief efforts, charitable works, public welfare institutions, structural justice initiatives, ecological activism, feminist leadership, food consciousness, and yes, even spiritual fashion-forwardness.
Ch'ien associates "weird forms of English" with "the authors' bi- or polycultural status and context influencing this English" (4), which would seem to imply that white writers do not write "weird English," and yet as I have indicated, white regionals in the late-nineteenth-century United States became "Other, marked" in ways that called their "whiteness" into question.