Chinese magic can be divided into "ancient Chinese magic" and "modern magic"; often in some performances, you will see someone who is good at "classical magic tricks", which belongs to a type of ancient Chinese magic.

　　(This classification is not absolute; different principles and techniques can be used interchangeably during performances depending on the specific needs.)

        Technique-based performances – primarily based on manual skills and techniques, requiring diligent practice to master.

        Mechanical Instruments – Performances using cleverly designed mechanisms and instruments.

　　Psychological category – Magic performances based on the principles of psychology.

　　Science and Technology Category – Performances based on natural science knowledge such as chemistry and physics.

　　Divided into giant magic tricks, medium magic tricks, and small magic tricks.

　　Magic is divided into stage magic, banquet magic, and street magic (also known as close-up magic).

　　A magician specializes in magic tricks using a particular prop and often combines tricks involving the same prop into a single performance, creating a themed magic act. Themed magic acts include: coin magic, card magic, escape magic, scarf magic, rope magic, sponge ball magic, and so on.

　　American magician Daryl Fitzkee categorized the effects of magic in his book *The Trick Brain* as follows:

　　1. Production – This includes appearance, creation, and reproduction (division).

　　2. Vanish – to disappear from solid form.

　　3. Transposition – Moving a solid from one side to another.

　　4. Transformation – Change in quality and form.

　　5. Penetration – The passage of one solid object through another without being damaged.

　　6. Restoration – To restore something that has been completely destroyed to its original state.

　　7. To give life (Antimation) – to make inanimate objects move on their own.

　　8. Antigravity – changing one’s gravity.

　　9. Attraction – the magical force of attraction, which also alters gravity, but requires another tangible object to be attracted to.

　　10. Invulnerability – contrary to the natural phenomenon of the human body.

　　11. Physical Anomaly – An abnormal or deformed person or animal.

　　12. Spectaor Failure – Invite audience members to come on stage and do the same thing, but the results are different.

　　13. Sympathetic Reaction – Manipulating one object results in another identical object having the same reaction.

　　14. Control – Using willpower to control inanimate objects.

　　15. Identification – the ability to recognize words or objects using senses other than sight.

　　16. Thought Reading – Reading what the other person is thinking.

　　17. Thought Transmission – To convey one’s thoughts to another person without speaking them.

　　18. Prediction – To predict what will happen.

　　19. Extra Sensory Perception (ESP) – commonly known as ESP.

　  (1) Production: to appear or increase (people or things).

　　(2) Physical anomaly: including people leaving their shadows, headless beauties, spiders with human heads, and thumbs being removed.

　　(3) vanish: disappear, become invisible.

　　(4) Spectator failure: The magician uses a certain power to prevent the audience from doing something.

　　(5) Translocation: disappearing from one place and appearing in another.

　　(6) Control: Magicians use their internal force (without using their hands) to control the actions of living or inanimate objects, such as ringing a bell or automatically reaching out their hands.

　　(7) Transformation: changing size, shape, properties, color, symbols, etc.

　　(8) Identification: such as recognizing the audience’s card table (mostly used for card games, but also for colors; magicians or audiences can recognize it).

　　(9) Penetration: A hard object passes through another hard object.

　　(10) Mind reading: Magicians can know what the audience is thinking, and the audience can also write down their thoughts for comparison.

　　(11) Restoration: Restoration of a partially or completely broken or disassembled object.

　　(12) Thought reading: enabling A to know what B is thinking.

　　(13) Animation: to make inanimate objects move as if they were alive.

　　(14) Prediction: to make a prediction about what will happen, such as a headline news item.

　　(15) Anti-gravity: The movement of a person or object that is against gravity.

　　(16) Extra-sensory perception: such as using your fingers to see things, using your nose to smell colors, using your fingers to feel cards, etc.

　　(17) Sympathetic reaction: Two or more people or things produce the same result.

　　(18) Skill: To create special effects by using real skills or props.

　　(19) Invulnerability: including eating fire, walking on firewood and charcoal, walking on swords, eating glass, eating blades, cutting tongues with needles and nails, etc.

　　Chinese magic is characterized by its meticulous performance, emphasizing hand skills and body language, and using small props. In the past, it was mostly performed at stalls at close range, allowing people to watch from all sides, but it was not advisable to watch from below. Currently, it has developed into stage performances and is trending towards large-scale magic shows.

　　Western magic: Performances are often comical and thrilling, with a grand and impressive scale. They heavily utilize props, are mostly stage performances, and are performed at a distance from the audience; it's not advisable to watch from behind the performer. Currently, it is developing rapidly, increasingly incorporating modern technology. With the increasing frequency of exchanges between East and West, there is a trend towards mutual integration between the two.

　　Magic performances can be broadly categorized by scale as follows:

　　(1) Close-up magic, also known as close-up magic

　　Performing in front of one or a few audience members at close range requires skillful techniques, and the props used are mostly everyday items such as coins, playing cards, etc. Because of the face-to-face contact with the audience, and the fact that the audience can often touch the performance objects, the impact is often enormous.

　　(2) Table Hopper

　　The performances typically take place in restaurants, where the performers go from table to table.

　　(3) Street Magic

　　This is a performance style that has emerged in recent years. The most famous example of this style is the performance by American magician David Blaine, who uses the streets as a stage to interact with the audience in various ways.

　　(4) Bar Magic

　　Using small to medium-sized props in conjunction with the performance, it is suitable for nightclubs, birthday parties, or anniversary parties. It is highly interactive, and the performers often make the audience laugh out loud.

　　(5) Stage Magic

　　This type of performance requires large-scale magic props, dance, stage lighting, and sound equipment (and the stage may need to be specially modified). It is only suitable for performances in large theaters or auditoriums.

　　(6) Large-scale illusion magic (Illusion)

　　Large-scale illusions, such as the Statue of Liberty disappearing or passing through the Great Wall, often require substantial funding and can only be performed by magicians backed by television stations.

　　Card magic: Card magic uses playing cards (poker) for performances, and there are often tens of thousands of card magic tricks. Magicians usually prefer to use bicycle playing cards.

　　Coin magic: Performing tricks using coins; magicians often prefer to use half-dollar coins in their performances.

　　Mentalism: Magic that utilizes superpowers (ESP) such as mind reading, clairvoyance, and prophecy.

 

 

        The exact origin of magic is unknown, but it's speculated that it existed since the beginning of human activity. The origins of magic lie in religion and belief. In ancient times, people believed that all things in nature were manipulated by spirits or gods. Therefore, wizards or priests exploited this superstitious mentality, using principles unknown to people to create miracles, leading them to believe these were performed by spirits or gods. Magic reinforced religious rituals, further solidifying believers' convictions. The earliest recorded magic trick is in ancient Egypt, around 2600 BC, more than four thousand years ago. The Wieska Manuscript, discovered in 1823, records a magician named Dedi who was summoned to perform for the Pharaoh. He could decapitate a goose, allowing it to walk, and then reattach its head, restoring it to its original state. The record describes the magician performing the same trick on pelicans and bulls. However, when the Pharaoh demanded he perform the same trick on prisoners, he refused. Ancient Greek temples also utilized the principles of magic. For example, when a priest opened the temple doors, bellows would blow towards the ground, and flames would appear on the altar. There were also talking idols created using bellows. The earliest recorded magic trick is the Cups and Balls trick, the oldest known trick. It is depicted in an Egyptian mural (Tomb of Baqt III at Beni Hassan BC 2500), as shown in the attached image. However, the actual historical record of its performance dates back to the first century AD. This trick was very popular in the Middle Ages and was widely performed by magicians in marketplaces. Magicians at that time were called jugglers. These traveling performers, along with musicians, poets, and acrobats, entertained villagers with simple tricks in village open spaces. Towards the end of the Middle Ages, the magicians' plight began. European magicians faced strong opposition from the church. Because people at that time strongly believed in witchcraft and the supernatural, in this superstitious era, any magic not recognized by the church was considered black magic. If even one person testified against a magician, the magician would face trial. Many magicians were accused of conspiring with the devil. Despite the persecution, magic remained a dangerous yet popular profession. Some magicians were favored and protected by wealthy landowners and nobles. Traveling magicians of this period had only a limited number of tricks to perform. Playing cards were not yet widespread, and tricks requiring large props were expensive. Therefore, magicians relied on skillful manipulation and storytelling. Tricks using birds and animals were particularly popular. Nearly three hundred years ago, religious persecution of magic intensified. During the reign of King Henry VIII of England, the punishment for performing magic was death. By the late 16th century, the persecution of witches had reached the point of massacres. Due to these acts of madness, many magicians faced death threats; if they did not share their secrets, they risked execution. This led to the creation of the first English book on magic, *The Discovery of Witchcraft* in 1584. The author, Reginald Scott, aimed to save magicians' lives and distinguish magicians' skills from the evil powers of witches. He revealed many secrets of magic in the book, proving that these seemingly miraculous feats were actually achieved through natural techniques, not through evil forces. His work indeed prevented many magicians from being burned at the stake. Historically, wherever people gathered, magicians' performances were always packed. In the 18th century, the most common gathering places were the annual markets. Various circus performances and acrobatic shows took place there. But in this competition, the only star was the magician. The greatest magician of the 18th century was Isaac Fox. He rose to fame in the 1720s and could be seen in the main markets of every town. Isaac's classic magic trick was the Egg Bag, continuously producing eggs and small items from an empty bag. To watch Fox's performance, one had to pay a shilling. He was the pioneer of this technique, thus becoming a high-income earner and even having a loyal following. When he died in 1731, newspapers reported that he left behind an estate of £10,000, equivalent to $1 million today, demonstrating his immense popularity. In the 19th century, with the rise of theaters, magicians found a new stage. The first magician to bring magic to the theater and make a name for himself there was John Henry Anderson (1814-1874), a Scottish magician known as "The Great Wizard of the North." His innovative performance style influenced countless magicians after him. Magicians combined skillful manipulation with lighting and stage effects, ushering in a new era for magic. Magicians reached the pinnacle of their careers, with many magic tricks created specifically for the theater. The late 19th century was the golden age of magic performances, with theaters packed to capacity. Magicians at that time wore formal tailcoats, just like the theatergoers, which is the origin of the tradition of magicians performing in tailcoats. Some magicians even became household names. The most famous magician of the early 20th century was Harry Houdini (1874-1926), the legendary escape artist. A household name in America, Houdini was renowned for his escape acts, including those involving handcuffs, a tight-fitting suit, milk jugs, a Chinese water dungeon, and most famously, an underwater escape. Houdini was also a pioneer in exposing so-called psychics who used magic to deceive the public. His exploits are still remembered today. However, the rise of the film industry in the 1930s led to a rapid decline in the magic performance market. In movies, any kind of magic could happen. Only true magicians could captivate audiences. Today, the demand for magic has risen again. The neon lights of Las Vegas have replaced the ancient campfires. The development of entertainment cities like Las Vegas, combined with the allure of television, has created a new generation of magic superstars. These magicians charge exorbitant fees and have supporters all over the world, something unimaginable for magicians of the past. Today, magic continues to satisfy people's need for wonder and entertainment. Magic tells us that life is full of wonder and dreams; it also tells us that things may not be as they appear on the surface. And the history of believing in magic will continue to develop along with the history of humankind into the more distant future.

 

　　These fantastical scenarios were reflected in ancient customs and activities with a strong recreational element, such as offering sacrifices to heaven and praying for a good harvest, thus giving rise to the rudiments of magic. Just as the three ancient figures of the "Ge Tian Clan" danced with ox tails as recorded in the *Lüshi Chunqiu*, ancient drama, dance, acrobatics, and magic were all in their infancy and not yet clearly separated. Unable to resist natural disasters, the ancients believed that heaven and earth were connected by a road, and that there were pillars supporting the sky like Mount Buzhou. Thus, messengers appeared who could travel between humans and gods—shamans, sorcerers, and later, alchemists. These individuals, in order to convince people of their extraordinary abilities, generally had methods of verification; these were the primitive magicians.

　　Magic, as a specific form of performance, has existed for at least two thousand years. In the third year of the Yuanfeng era of the Western Han Dynasty, Emperor Wu of Han held a grand entertainment festival, which included traditional Chinese magic such as "The Spreading of the Fish and Dragon," as well as Western Region magic performed by Roman magicians, including "Fire Breathing," "Knife Swallowing," and "Self-Binding and Self-Unbinding." During the Wei, Jin, and Northern and Southern Dynasties, several magic acts emerged, such as "Phoenix Carrying a Book" and "Pulling a Well," where a person draws lines on the ground to create a harvest. During the reign of Emperor Yang of Sui, "The Yellow Dragon Transformation" appeared, conjuring up a field full of aquatic creatures. The "Entering the Pot Dance," popular during the reign of Emperor Xuanzong of Tang, involved the performer entering a pot from the left and emerging from the right—all considered masterpieces of magic at the time.

　　By the Song Dynasty, magic had begun to specialize, with several professions emerging, such as "manipulation" and "sleight of hand." At the same time, folk troupes composed of professional magicians—the Yunji Society—also appeared. Du Qisheng, a famous magician of the Song Dynasty, was renowned for his tricks involving killing and resurrection, and his art was known as the "Seven Saints' Magic." During the Ming and Qing Dynasties, various magic shows circulated in the streets and alleys of the countryside. Famous Chinese magic tricks such as "Nine Linked Rings," "The Immortal Planting Beans," and "Ancient Colored Magic" all had a significant impact on the world of magic.

　　From the mid-Qing Dynasty onwards, some Chinese artists migrated overseas, while magic troupes from Europe, America, and Japan continued to perform in China, promoting exchanges between Chinese and foreign magic. While maintaining their own traditional magic habits, Chinese magicians absorbed a large number of foreign magic performance styles, content, and techniques, gradually forming the diverse programs that are seen on the Chinese magic stage today.

　　Partial correction: The earliest magic trick in China is "Fishing" from the Three Kingdoms period, which is still performed today.

　　The earliest magic trick in foreign countries is the Three Cups, also known as the Three Immortals Returning to the Cave. Some say it originated in China, while others say it originated in India.

　　Just as Chinese people must understand Chinese history, so too must Chinese magic enthusiasts understand the history of Chinese magic.

 

 

　　(ii) Practice diligently.

　　(iii) Do not perform before you have practiced and mastered the skills.

　　(iv) Teaching magic without a price.

　　(v) The secrets of magic tricks shall not be revealed.

　　(vi) Do not reveal the magic effect before the performance.

        (vii) Do not perform the same magic trick in front of the same audience.

　　(viii) Magic should be developed in a righteous way.

　　Special Note:

　　(iv) Teaching magic without a price :

　　Do I need to communicate with other people before I can teach, or do I need to be paid by other people before I can teach? Of course, communication with magicians is not limited to this.

　　This rule exists because in the past, there were few magic enthusiasts, only professional magicians whose livelihood depended on magic. Passing on this skill to another person naturally couldn't be without cost. In most cases, they only performed magic when there was monetary income or other benefits. Furthermore, in the eyes of the average audience, magic is a "secret." If the secret is revealed, magic seems to lose its meaning. They don't consider the time and effort invested behind it, nor anything beyond the secret itself.

　　This also raises the issue that professional magicians don't want the general public to perceive magic as free entertainment; their performances should be rewarded with income. Magic isn't something readily available; it has value, and understanding its secrets requires a price. If learning magic didn't require payment, then magic would lose its value.

　　(v) The secrets of magic tricks shall not be revealed.

　　A friend once asked me how I did it, and I said magic tricks can't be taught. He replied, "If magic tricks can't be taught, why can't you learn them? How could you not teach me?" This left me speechless. How should I answer him?

　　Magic is a fascinating art form; everyone who watches it is curious and wants to know the secrets. But only one in ten (or fewer) will be willing to spend the time practicing and performing it after learning the secrets. Magic isn't unteachable, but it should be taught to those willing to invest the time and effort. You can tell your friend that there are books on magic in the library; if they're interested, they can borrow them. If they're truly interested and willing to spend time learning, that's the bare minimum.

　　(vi) Do not reveal the magic effect before the performance .

　　Have you ever noticed that, aside from some magic tricks with very abstract names, most magic shows rarely have names? This is because magicians can't reveal the effect of their performance beforehand. Doing so would diminish the mystery, and without mystery, magic loses half its charm.

　　(vii) Do not perform the same magic trick in front of the same audience .

　　If some time has passed, may I perform the same magic trick again?

　　If there are three audience members, and only one of them has seen the performance before, should I still perform?

　　The original meaning of this is that the audience is also very smart. If we perform the same effect in front of them several times, they will have enough time to think and thus guess how the magic trick is performed.

　　The purpose of this is to prevent the audience from having time to think. If an audience member has seen this magic trick before, you can still perform it, but you shouldn't perform it several times in a row in front of them.

　　Sometimes, we use the same technique to perform the same effect several times, but this is not necessarily wrong. The appearance of the same effect several times may lead some viewers to a conclusion or guess in their minds. When they think they are right, the second effect completely negates their idea.

　　(viii) Magic should be developed in a righteous way.

　　Magic is an art form with over a thousand years of history, originating in China. However, many people in society believe that magic is a deceptive trick. I believe this perception stems from the fact that many people use magic to cheat others out of money or goods, claiming it's a special ability. Even worse, some learn magic to gamble and cheat. These are all improper practices, exceeding the true scope of magic. The proper development of magic means using it to bring joy to the audience, give performers confidence, and make them the center of attention.

 

　　That is, the Tashington Three Principles:

　　(1) Never reveal the secret of magic.

　　This is the first and most important rule for all magicians. Without secrets, even the most difficult and dazzling techniques are useless in front of the audience, and the magician becomes a clown performing tricks and being ridiculed. They'll either call you a genius or a fraud and an idiot.

　　Some agree with the masked magician's statement that the secrets of magic must be revealed for magic to progress. It's true that the secrets of magic should be revealed to those who are willing to learn, but not without cost and without restriction to the general public. Magic isn't something everyone can do; certain barriers to entry are necessary. This statement is merely an excuse for him to create a tragic hero image. Because of his shows, magicians in some areas have lost their jobs, while he himself has made a fortune. Is this ethical behavior? He has insulted the audience's right to appreciate magic, yet people still applaud.

　　Masked magician shows may have instilled incorrect notions about magic in some beginners and the general public, causing them to underestimate the secrets of magic and disrespect the performance. If you believe that the secrets of magic must be revealed for magic to improve, as masked magicians claim, why don't you practice what you preach and demonstrate your own secrets to the audience after each performance?

　　The secret of magic is the source of a magician's power, just as the hair in the Book of Judges was to the great-grandson of Mighty. A magician who has lost his secret is no longer powerful; he is merely a lion trapped in a cage. His majesty remains, but he has no ability to harm.

　　Hopefully, during my next performance, I can ask myself: Can I keep a secret?

　　Magic has become easy to learn lately, and many techniques can be easily obtained through exchanges, cheap teaching, or online videos. As a result, because it is so easy to obtain, some people do not cherish it at all, or even do not understand the value of a technique, and casually give it to ordinary people.

　　I hope every beginner can appreciate the true value of magic. Don't easily toss this gem to just anyone; they won't be grateful, they'll just bite you back. Secrets are meant to be cherished, not talked about.

　　People who possess magic are very valuable, and I hope everyone will recognize the value of what they know. If you only share magic as a fun little game or an internet joke, you will lose its magic.

　　(2) Do not perform the same magic trick in front of the same audience.

　　If the audience asks you to do it again after your performance, it means your performance was very successful. However, remember, never do the same trick again, because you risk being exposed and becoming a clown. It's also best not to use the same technique more than twice, to avoid being seen through by the audience.

　　(3) Do not explain the content of the performance in advance.

　　Magic emphasizes the sense of surprise. If you reveal your next move to the audience, what's the drama and surprise? Like a movie or novel where the ending is already known, it loses its magic. Therefore, never reveal the effect or outcome of your performance beforehand. Doing so also risks being exposed. Furthermore, magic performances shouldn't be rigid; variety is key to engaging the audience.

　　The Thurston Three Principles are the most basic rules that magicians and magic students must follow, but some people simply ignore them.

　　Before teaching magic in the first class, I usually start by explaining the three principles of Thurston, and I explain that a truly skilled magician is very courteous when appreciating others' performances, respecting his peers (and also respecting the predecessors who invented these techniques), and will not try to crack or expose their tricks (some people know a trick or two and think they are experts and try to crack others' tricks during their performances). I will even bring this up in later classes.

　　Those who do not adhere to these three principles are not qualified to learn or perform magic.