F1914.53 Documentation Work Sheet
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Ps TOILETRY CASE SETS ACROSS LIFE and DEATH in EARLY CHINA (5 C. BCE-3 C. CE) by Sheri A. Lullo BA, University of Chicago
TOILETRY CASE SETS ACROSS LIFE AND DEATH IN EARLY CHINA (5th c. BCE-3rd c. CE) by Sheri A. Lullo BA, University of Chicago, 1999 MA, University of Pittsburgh, 2003 Submitted to the Graduate Faculty of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 Ps UNIVERSITY OF PITTSBURGH FACULTY OF ARTS & SCIENCES This dissertation was presented by Sheri A. Lullo It was defended on October 9, 2009 and approved by Anthony Barbieri-Low, Associate Professor, History Dept., UC Santa Barbara Karen M. Gerhart, Professor, History of Art and Architecture Bryan K. Hanks, Associate Professor, Anthropology Anne Weis, Associate Professor, History of Art and Architecture Dissertation Advisor: Katheryn M. Linduff, Professor, History of Art and Architecture ii Copyright © by Sheri A. Lullo 2009 iii TOILETRY CASE SETS ACROSS LIFE AND DEATH IN EARLY CHINA (5th c. BCE-3rd c. CE) Sheri A. Lullo, PhD University of Pittsburgh, 2009 This dissertation is an exploration of the cultural biography of toiletry case sets in early China. It traces the multiple significances that toiletry items accrued as they moved from contexts of everyday life to those of ritualized death, and focuses on the Late Warring States Period (5th c. BCE) through the Han Dynasty (206 BCE-220 CE), when they first appeared in burials. Toiletry case sets are painted or inlaid lacquered boxes that were filled with a variety of tools for beautification, including combs, mirrors, cosmetic substances, tweezers, hairpins and a selection of personal items. Often overlooked as ordinary, non-ritual items placed in burials to comfort the deceased, these sets have received little scholarly attention beyond what they reveal about innovations in lacquer technologies. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Ancient Emaki "Genesis" Exploration and Practice of Emaki Art Expression Tong Zhang Digital Media and Design Arts College Beijing University of Posts and Telecommunications Beijing, China 100876 Abstract—The ancient myths and legends with distinctive generation creators such as A Gen, sheep and others, and a Chinese characteristics, refers to myths and legends from dedicated serial picture book magazine "Paint Heart", Chinese Xia Dynasty until ancient times, it carries the origin of "STORY" appears, the delicate picture and vivid story make Chinese culture and it is the foundation of the Chinese nation, it Chinese picture book also developing rapidly and has formed a influence the formation and its characteristics of the national national reading faction craze for outstanding picture books. spirit to a large extent. The study explore and practice the art expression which combines ancient culture with full visual 1) Picture book traced back to ancient Chinese Emaki: impact Emaki form, learn traditional Chinese painting China has experienced a few stages include ancient Emaki, techniques and design elements, and strive to make a perfect illustrated book in Republican period and modern picture performance for the magnificent majestic ancient myth with a books. "Picture book", although the term originated in Japan, long Emaki. It provides a fresh visual experience to the readers and promotes the Chinese traditional culture, with a certain but early traceable picture books is in China. In Heian research value. Kamakura Period Japanese brought Buddhist scriptures (Variable graph), Emaki (Lotus Sutra) and other religious Keywords—ancient myths; Emaki form; Chinese element Scriptures as picture books back to Japan, until the end of Middle Ages Emaki had developed into Nara picture books. -
Image – Narration
Shane McCausland Intermediary Moments: Framing and Scrolling Devices across Painting, Print and Film in China’s Visual Narratives As an historian of the arts of dynastic China, it is refreshing to be addressing schol- ars of the ‘old world’ of prehistory and classical archaeology and up to contempo- rary times, and to be in the final panel not because this paper deals with one of the West’s Others but because it investigates visual storytelling in artistic formats across the latter half of the historical period that began in China around 1500 BCE. This essay is concerned with how social meaning and identity are shaped through the materiality of pictorial artworks and also with some disciplinary questions about topics like mediality. Mindful of present concerns, I explore the mechanisms by which visual narratives were framed and developed in light of the changing media in use in this cultural context, as well as the intelligibility and coherence of these visual narrative devices. This conference called forth the type of thematic research, ranging widely across received divisions of time and culture and engaged in by an intergenerational cross-section of professionals, that the collective field of art history and archaeology actually needs and I commend the organizers for that.1 Still, concerning the wider framework for investigation here, there is a conundrum. Researchers are by nature wary of narratives and claims to legitimacy founded on the historical cultures em- bedded in the modern nation-states. At the same time, they must take seriously these cultural formations especially where the agency of the past in the present may be quite different from that of our European condition. -
Wikimedia with Liam Wyatt
Video Transcript 1 Liam Wyatt Wikimedia Lecture May 24, 2011 2:30 pm David Ferriero: Good afternoon. Thank you. I’m David Ferriero, I’m the Archivist of the United States and it is a great pleasure to welcome you to my house this afternoon. According to Alexa.com, the internet traffic ranking company, there are only six websites that internet users worldwide visit more often than Wikipedia: Google, Facebook, YouTube, Yahoo!, Blogger.com, and Baidu.com (the leading Chinese language search engine). In the States, it ranks sixth behind Amazon.com. Over the past few years, the National Archives has worked with many of these groups to make our holdings increasingly findable and accessible, our goal being to meet the people where they are. This past fall, we took the first step toward building a relationship with the “online encyclopedia that anyone can edit.” When we first began exploring the idea of a National Archives-Wikipedia relationship, Liam Wyatt was one of, was the one who pointed us in the right direction and put us in touch with the local DC-area Wikipedian community. Early in our correspondence, we were encouraged and inspired when Liam wrote that he could quote “quite confidently say that the potential for collaboration between NARA and the Wikimedia projects are both myriad and hugely valuable - in both directions.” I couldn’t agree more. Though many of us have been enthusiastic users of the Free Encyclopedia for years, this was our first foray into turning that enthusiasm into an ongoing relationship. As Kristen Albrittain and Jill James of the National Archives Social Media staff met with the DC Wikipedians, they explained the Archives’ commitment to the Open Government principles of transparency, participation, and collaboration and the ways in which projects like the Wikipedian in Residence could exemplify those values. -
The Costume in the Earliest Chinese Hand Scroll
Vol. 6, No. 1 Asian Social Science The Costume in the Earliest Chinese Hand Scroll Yue Hu Fashion Art Design Institute, Donghua University Shanghai, 200051, China Fashion College, Shanghai University of Engineering Science Shanghai, 201620, China E-mail: [email protected] Abstract The earliest Chinese hand scroll extant painting is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, which is now often considered to be a Tang Dynasty copy of the original. By compared with correlated literatures and images, the typical skill and styles in which the earliest Chinese figure painters of Jin Dynasty (AD 265-420) depicting costumes is opened out, as well as the typical costume patterns and styles of man, woman and children. Keywords: Costume, Hand scroll, ‘Nushi zhen’, Gu Kaizhi In South Qi Dynasty (AD 479-502) of Southern Dynasties, Xie He said: “No ancient painting is exquisite until Wei Xie.” in his <Commentaries on Ancient Paintings>. The ancient paintings Xie mentioned were the Chinese handscroll paintings of figure illustrations, and Wei was famous in Western Jin Dynasty (AD 265-317). So the mature style of Chinese ancient handscroll painting should appear from then on. Unfortunately, there was no Wei’s painting in existence, even copies. The earliest painting we can see nowadays is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, who was a top painter of the Eastern Jin Dynasty (AD 317-420), and ever learned painting from Xie. Upon that, this article will study the representation of garment and accessories of the figures in the painting all-sided. -
The Performative Body
The Performative Body by Rong Xie 1 CONTENTS Introduction Chapter 1: Her Voice Helene Cixous Chapter 2: Their Bodies The nude Kenneth Clark & John Berger The Invisible Body in Ancient China John Hay & Xin Ran Exterior and Interior, veil and Soul Ann Hollander & Helene Cixous Chapter 3: Performativity Sex and Gender Simone de Beauvoir & Judith Butler Gender's Performative in Chinese Folk Story Painted skin Chapter 4: Bodies in Performance Art Body Boundaries Maria Abramovic & Ulay Yoko Ono Culture and Nature Yayol Kusama Song Dong Cultural Animal Xu Bin Gillian Wearing Conclusion Bibliography 2 Introduction My thesis has been divided into three parts in order to look at ideas concerning “ecriture feminine”1, the performative body, and the broader issues concerning sexual politics. For this process I examined the theories of Helen Cixious with regard to the space and writing; Judith Butler’s idea of gender and performativity; as well as incorporating ideas related to contemporary performance art. Furthermore my own writing and performance is growing as a body of work parallel to my thesis, this will be presented in another book, which will, in turn, implicate the relationship between theory and practice. The first chapter of my thesis explores the definitions of Feminine Writing”, I examined the book Three Steps on the Ladders of Writing by Helene Cixous published in 1994. I chose her to study because she is the first feminist who introduced the theory of Feminine Writing. I was so inspired by her writing that I began to write about myself. She said: “We have to write about our story, our history, and ourselves. -
The Problem of Identifying Mudan 牡丹and the Tree Peony in Early
Asian Medicine 5 (2009) 108–145 brill.nl/asme The Problem of Identifying Mudan 牡丹 and the Tree Peony in Early China Teruyuki Kubo Abstract The tree peony is a flowering plant found in China, and well-known in Britain. Its root cortex is often used in Chinese traditional prescriptions, such as Dahuang mudan tang, Liuwei dihuang wan, and Jiawei shaoyao san. In contemporary Chinese, the tree peony is called ‘mudan’, and although its beauty was largely ignored until the Kaiyuan era (713–41 CE), a drug of the same name is mentioned in medical texts of the Eastern Han period (25–220 CE). The early authori- tative materia medica, Xinxiu bencao (659 CE), also describes a plant called ‘mudan’, but it is different from the tree peony in form. Curiously, although the tree peony is not considered to be native to Japan, it is described as a specialty plant in the early Japanese gazetteer, Izumonokuni Fudoki (733 CE). This study demonstrates that in early texts mudan’‘ referred to a different plant from the tree peony, and that ‘mudan’ had two remarkable aliases, ‘bailiangjin’ in China and ‘yamatachihana’ in Japan. Today, both aliases are used to refer to Ardisia species. Furthermore, I will demonstrate that the Xinxiu bencao’s description of the mudan closely matches that of the Ardisia, especially the A. japonica species. My investigations therefore suggest that early prescriptions may have used the Ardisia species, not the tree peony. This raises further questions: when and how did the tree peony come to replace the Ardisia? This paper presents the most likely progression of this transition by tracing the expansion of cultivation of mudan for ornamental purposes. -
Zeng Jing's Informal Portraits of the Jiangnan Litera
UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
Flowers Bloom and Fall
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Flowers Bloom and Fall: Representation of The Vimalakirti Sutra In Traditional Chinese Painting by Chen Liu A Dissertation Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy Approved November 2011 by the Graduate Supervisory Committee: Claudia Brown, Chair Ju-hsi Chou Jiang Wu ARIZONA STATE UNIVERSITY December 2011 ABSTRACT The Vimalakirti Sutra is one of the classics of early Indian Mahayana Buddhism. The sutra narrates that Vimalakirti, an enlightened layman, once made it appear as if he were sick so that he could demonstrate the Law of Mahayana Buddhism to various figures coming to inquire about his illness. This dissertation studies representations of The Vimalakirti Sutra in Chinese painting from the fourth to the nineteenth centuries to explore how visualizations of the same text could vary in different periods of time in light of specific artistic, social and religious contexts. In this project, about forty artists who have been recorded representing the sutra in traditional Chinese art criticism and catalogues are identified and discussed in a single study for the first time. A parallel study of recorded paintings and some extant ones of the same period includes six aspects: text content represented, mode of representation, iconography, geographical location, format, and identity of the painter. This systematic examination reveals that two main representational modes have formed in the Six Dynasties period (220-589): depictions of the Great Layman as a single image created by Gu Kaizhi, and narrative illustrations of the sutra initiated by Yuan Qian and his teacher Lu Tanwei. -
Seeing with the Mind's Eye: the Eastern Jin Discourse of Visualization and Imagination Author(S): TIAN XIAOFEI Source: Asia Major , 2005, THIRD SERIES, Vol
Seeing with the Mind's Eye: The Eastern Jin Discourse of Visualization and Imagination Author(s): TIAN XIAOFEI Source: Asia Major , 2005, THIRD SERIES, Vol. 18, No. 2 (2005), pp. 67-102 Published by: Academia Sinica Stable URL: http://www.jstor.com/stable/41649906 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Academia Sinica is collaborating with JSTOR to digitize, preserve and extend access to Asia Major This content downloaded from 206.253.207.235 on Mon, 13 Jul 2020 17:58:56 UTC All use subject to https://about.jstor.org/terms TIAN XIAOFEI Seeing with the Mind's Eye: The Eastern Jin Discourse of Visualization and Imagination This with with paper the thephysical physical world, explores or more world, specifically, a series with or more landscape, of acts dur- specifically, of the mind with in landscape, its interaction dur- ing the intellectually coherent hundred-year period coinciding with the dynasty known as the Eastern Jin (317-420). Chinese landscape poetry and landscape paintings first flourished in the Six Dynasties. Landscape was an essential element in the so-called "poetry of arcane discourse" ( xuanyan shi 3CHHÍ) of the fourth century, a poetry drawing heavily upon the vocabulary and concerns of the Daoist philosophy embodied in Laozi and ZJiuangzi as well as upon Buddhist doctrine; the earliest known record of landscape painting also dates to the Eastern Jin.1 How was landscape perceived by the Eastern Jin elite, and how was this unique mode of perception informed by a complex nexus of contemporary cultural forces? These are the questions to be dealt with in this paper. -
UC GAIA Chen Schaberg CS5.5-Text.Indd
Idle Talk New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. Joan Judge and Hu Ying, eds., Beyond Exemplar Tales: Women’s Biography in Chinese History 2. David A. Palmer and Xun Liu, eds., Daoism in the Twentieth Century: Between Eternity and Modernity 3. Joshua A. Fogel, ed., The Role of Japan in Modern Chinese Art 4. Thomas S. Mullaney, James Leibold, Stéphane Gros, and Eric Vanden Bussche, eds., Critical Han Studies: The History, Representation, and Identity of China’s Majority 5. Jack W. Chen and David Schaberg, eds., Idle Talk: Gossip and Anecdote in Traditional China Idle Talk Gossip and Anecdote in Traditional China edited by Jack w. cheN aNd david schaberg Global, Area, and International Archive University of California Press berkeley los Angeles loNdoN The Global, Area, and International Archive (GAIA) is an initiative of the Institute of International Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. -
Antiquarianism, Language, and Medical Philology
iii Antiquarianism, Language, and Medical Philology From Early Modern to Modern Sino-Japanese Medical Discourses Edited by Benjamin A. Elman LEIDEN | BOSTON This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV Contents Contents v Contents Contributors vi 1 Rethinking the Sino-Japanese Medical Classics: Antiquarianism, Lan- guages, and Medical Philology 1 Benjamin A. Elman 2 Reasoning with Cases: The Transmission of Clinical Medical Knowledge in Twelfth-Century Song China 19 Asaf Goldschmidt 3 Illness, Texts, and “Schools” in Danxi Medicine: A New Look at Chinese Medical History from 1320 to 1800 52 Fabien Simonis 4 Ancient Texts and New Medical Ideas in Eighteenth-Century Japan 81 Daniel Trambaiolo 5 The Reception of the Circulation Channels Theory in Japan (1500–1800) 105 Mathias Vigouroux 6 A Village Doctor and the Treatise on Cold Damage Disorders ( Shanghan lun 傷寒論): Medical Theory / Medical Practice in Late Tokugawa Japan 133 Susan L. Burns 7 Honzōgaku after Seibutsugaku: Traditional Pharmacology as Antiquari- anism after the Institutionalization of Modern Biology in Early Meiji Japan 148 Federico Marcon 8 Japanese Medical Texts in Chinese on Kakké in the Tokugawa and Early Meiji Periods 163 Angela Ki Che Leung 9 Yang Shoujing and the Kojima Family: Collection and Publication of Medical Classics 186 Mayanagi Makoto, with Takashi Miura and Mathias Vigouroux Index 215 This is a digital offprint for restricted use only | © 2015 Koninklijke Brill NV 186 Chapter 9 Chapter 9 Yang Shoujing and the Kojima Family: Collection and Publication of Medical Classics Mayanagi Makoto, with Takashi Miura and Mathias Vigouroux Introduction The mid-Edo period saw the rise of the Ancient Formulas School (Kohō-ha 古方派), spearheaded by Yoshimasu Tōdō 吉益東洞 (1702–1773).