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Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions with Yin and Yang Message
Journalism and Mass Communication, January 2017, Vol. 7, No. 1, 53-62 doi: 10.17265/2160-6579/2017.01.006 D DAVID PUBLISHING Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions With Yin and Yang Message Shu Hwa Lin, C J Duarte University of Hawaii at Manoa, Honolulu HI, USA The design themes of three Qing dynasty imperial dragon robes from the University of Hawaii at Manoa Costume Collection act as carriers of the Chinese yin-yang philosophy. The information shared by these imperial dragon robes are discussed through a cultural and technological analysis of the symbolic motifs and fabric structures of these garments to reveal the cultural and social impact of yin-yang on Qing imperial costume design. Keywords: Dragon robe, Yin and Yang, imperial/court costume Introduction Since the Qing dynasty (1644-1911), the yin-yang philosophy has been utilized in Chinese court dress (Lin, 2015). The influence of yin-yang on Chinese costume design can be observed in the surviving artifacts of the Qing dynasty (Cheng, 2008; Camman, 1952). The University of Hawaii at Manoa (UHM) Costume Collection (UHMCC) houses three kosse robes (i.e., tapestry) and one embroidery dragon robes from the Qing dynasty which provide representations of the yin-yang philosophy through the motifs and color patterns of its design. These important robes were selected to exhibit during special days such as year of dragon, UHM 100 years, and UHMCC 50 year’s anniversary. There are four categories of court dress: gunfu, chaofu, jifu, changfu (Zhoa, 1989; Zhou & Gao, 1988). Three dragon robes from the UHM Costume Collection are classified as jifu, or semi-formal court robe (Vollmer, 1977a). -
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Advances in Social Science, Education and Humanities Research, volume 324 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019) Exploration on the Protection Scheme of the Great Ruins of Southern Lifang District in the Luoyang City Site in Sui and Tang Dynasties Haixia Liang Luoyang Institute of Science and Technology Luoyang, China Peiyuan Li Zhenkun Wang Xi’an University of Architecture and Technology China Petroleum First Construction Company (Luoyang) Xi'an, China Luoyang, China Abstract—The great ruins are a kind of non-renewable district in a comprehensive and detailed way. Through the precious resources. The southern Lifang district in the analysis of the current situation of southern Lifang district, a Luoyang City Site in Sui and Tang Dynasties is the product of relatively reasonable planning proposal is obtained. This the development of ancient Chinese capital to a certain study can provide theoretical or practical reference and help historical stage. As many important relics and rich cultural on the protection and development of Luoyang City Site in history have been excavated here, the district has a rich Sui and Tang Dynasties, as well as the reconstruction of humanity history. In the context of the ever-changing urban southern Lifang district. construction, the protection of the great ruins in the district has become more urgent. From the point of view of the protection of the great ruins, this paper introduces the II. GREAT RUINS, SUI AND TANG DYNASTIES, LUOYANG important sites and cultural relics of southern Lifang district CITY AND LIFANG DISTRICT in Luoyang city of the Sui and Tang Dynasties through field Great ruins refer to large sites or groups of sites with a investigation and literature review. -
Yellow Dragon and Yellow Corn Girl Some Colors in Korean and Navaho Mythology
1 Yellow Dragon and Yellow Corn Girl Some Colors in Korean and Navaho Mythology Abstract: Some Korean and Navaho myths indicate the significance of the color yellow in building a strong foundation for society. For a new order such as a kingdom, a monastery and religion, even a new way of life, a yellow dragon may move to the center, but also—to spur growth of order in 12th c. and Kwanggaet’o myths—the dragon may meet his blue counterpart. Interaction between the two colors intensifies as a yellow and a blue dragon entwine in the shamanist myth of the Three Chesok Gods. Sometimes other entities bring the two colors into contact. In the very First World of the Navaho, yellow corn forms when the Blue and Yellow Clouds meet. When the Navaho finally reach the surface of this Fifth World, Turquoise Boy enters the great turquoise stone that will placed in the sky to produce yellow sunbeams for growing plants. Guarding the center of the myongdang system used in placements of important cities, houses, deceased family members stands the yellow dragon, from earliest formations of feng shui in China a representation of imperial power. The other four creatures of myongdang protect the periphery of the yellow center: blue or green dragon to the east, red phoenix south, white tiger west, black turtle north. A most full delineation of these guardians unfolds in Seo Dae-sook’s Tongnae version of the House God myth as Songjo chooses an auspicious spot to build his first house on earth: “On the east . -
Lunar Mansions in the Early Han (C
Cosmologies of Change The Inscapes of the Classic of Change Stephen Karcher Ph.D. 1 2 Sections Cosmologies of Change Yellow Dragon Palace Azure Dragon Palace Vermillion Bird Palace Black Turtle Palace The Matrix of Change 3 Cosmologies of Change The tradition or Way of the Classic of Change is like a great stream of symbols flowing back and forth through the present moment to connect the wisdom of ancient times with whatever the future may be. It is a language that everything speaks; through it everything is always talking to everything else. Things are always vanishing and coming into being, a continual process of creation that becomes knowable or readable at the intersection points embodied in the symbols of this language. These symbols or images of Change open a sacred cosmos that has acted as a place of close encounter with the spirit world for countless generations. Without this sort of contact our world shrinks and fades away, leaving us in a deaf and dumb wasteland, forever outside of things. 31:32 Conjoining and Persevering displays the process through which spirit enters and influences the human world, offering omens that, when given an enduring form, help the heart endure on the voyage of life. This cosmos has the shape of the Numinous Turtle, swimming in the endless seas of the Way or Dao. Heaven is above, Earth and the Ghost River are below, the Sun Tree lies to the East, the Moon Tree is in the far West. The space between, spread to the Four Directions, is the world we live in, full of shrines and temples where we talk with the ghosts and spirits, hidden winds, elemental powers and dream animals. -
Dragon Magazine #248
DRAGONS Features The Missing Dragons Richard Lloyd A classic article returns with three new dragons for the AD&D® game. Departments 26 56 Wyrms of the North Ed Greenwood The evil woman Morna Auguth is now The Moor Building a Better Dragon Dragon. Paul Fraser Teaching an old dragon new tricks 74Arcane Lore is as easy as perusing this menu. Robert S. Mullin For priestly 34 dragons ... Dragon Dweomers III. Dragon’s Bestiary 80 Gregory W. Detwiler These Crystal Confusion creatures are the distant Dragon-Kin. Holly Ingraham Everythingand we mean everything 88 Dungeon Mastery youll ever need to know about gems. Rob Daviau If youre stumped for an adventure idea, find one In the News. 40 92Contest Winners Thomas S. Roberts The winners are revealed in Ecology of a Spell The Dragon of Vstaive Peak Design Contest. Ed Stark Columns Theres no exagerration when Vore Lekiniskiy THE WYRMS TURN .............. 4 is called a mountain of a dragon. D-MAIL ....................... 6 50 FORUM ........................ 10 SAGE ADVICE ................... 18 OUT OF CHARACTER ............. 24 Fiction BOOKWYRMs ................... 70 The Quest for Steel CONVENTION CALENDAR .......... 98 Ben Bova DRAGONMIRTH ............... 100 Orion must help a young king find both ROLEPLAYING REVIEWS .......... 104 a weapon and his own courage. KNIGHTS OF THE DINNER TABLE ... 114 TSR PREVIEWS ................. 116 62 PROFILES ..................... 120 Staff Publisher Wendy Noritake Executive Editor Pierce Watters Production Manager John Dunn Editor Dave Gross Art Director Larry Smith Associate Editor Chris Perkins Editorial Assistant Jesse Decker Advertising Sales Manager Bob Henning Advertising Traffic Manager Judy Smitha On the Cover Fred Fields blends fantasy with science fiction in this month's anniversary cover. -
5Th Oct : 10:30 UTC Histopathology Image Analysis A
5th Oct : 10:30 UTC Histopathology Image Analysis A Pairwise Relation Learning for Semi-supervised Gland Segmentation Xie, Yutong; Zhang, Jianpeng; Liao, Zhibin; Verjans, Johan; Shen, Chunhua; Xia, Yong Northwestern Polytechnical University Ranking-Based Survival Prediction on Histopathological Whole-Slide Images Di, Donglin; Li, Shengrui; Zhang, Jun; Gao, Yue Tsinghua University Renal Cell Carcinoma Detection and Subtyping with Minimal Point-Based Annotation in Whole-Slide Images Gao, Zeyu; Puttapirat, Pargorn; Shi, Jiangbo; Li, Chen Xi'an Jiao tong University Censoring-Aware Deep Ordinal Regression for Survival Prediction from Pathological Images Xiao, Lichao; Yu, Jin-Gang; Liu, Zhifeng; Ou, Jiarong; Deng, Shule; Yang, Zhenhua; Li, Yuanqing South China University of Technology Tracing Diagnosis Paths on Histopathology WSIs for Diagnostically Relevant Case Recommendation Zheng, Yushan; Jiang, Zhiguo; Zhang, Haopeng; Xie, Fengying; Shi, Jun Beihang University Weakly supervised multiple instance learning histopathological tumor segmentation Lerousseau, Marvin; Vakalopoulou, Maria; Classe, Marion; Adam, Julien; Battistella, Enzo; Carré, Alexandre; Estienne, Théo; Henry, Théophraste; Deutsch, Eric; Paragios, Nikos CentraleSupélec 5th Oct : 11:00 UTC Histopathology Image Analysis B Divide-and-Rule: Self-Supervised Learning for Survival Analysis in Colorectal Cancer Abbet, Christian; Zlobec, Inti; Bozorgtabar, Behzad; Thiran, Jean-Philippe EPFL Microscopic fine-grained instance classification through deep attention Fan, Mengran; Chakraborti, -
Handbook of Chinese Mythology TITLES in ABC-CLIO’S Handbooks of World Mythology
Handbook of Chinese Mythology TITLES IN ABC-CLIO’s Handbooks of World Mythology Handbook of Arab Mythology, Hasan El-Shamy Handbook of Celtic Mythology, Joseph Falaky Nagy Handbook of Classical Mythology, William Hansen Handbook of Egyptian Mythology, Geraldine Pinch Handbook of Hindu Mythology, George Williams Handbook of Inca Mythology, Catherine Allen Handbook of Japanese Mythology, Michael Ashkenazi Handbook of Native American Mythology, Dawn Bastian and Judy Mitchell Handbook of Norse Mythology, John Lindow Handbook of Polynesian Mythology, Robert D. Craig HANDBOOKS OF WORLD MYTHOLOGY Handbook of Chinese Mythology Lihui Yang and Deming An, with Jessica Anderson Turner Santa Barbara, California • Denver, Colorado • Oxford, England Copyright © 2005 by Lihui Yang and Deming An All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Yang, Lihui. Handbook of Chinese mythology / Lihui Yang and Deming An, with Jessica Anderson Turner. p. cm. — (World mythology) Includes bibliographical references and index. ISBN 1-57607-806-X (hardcover : alk. paper) — ISBN 1-57607-807-8 (eBook) 1. Mythology, Chinese—Handbooks, Manuals, etc. I. An, Deming. II. Title. III. Series. BL1825.Y355 2005 299.5’1113—dc22 2005013851 This book is also available on the World Wide Web as an eBook. Visit abc-clio.com for details. ABC-CLIO, Inc. 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116–1911 This book is printed on acid-free paper. -
Aspects of Cyclic Myth in Chinese and Western Literature
ASPECTS OF CYCLIC MYTH IN CHINESE AND WESTERN LITERATURE ROBERT SHAN-MU CHEN B.A., Soochow University, 1969 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS in the Programme of Comparative Literature We accept this thesis as conforming to the required standard THE UNIVERSITY OF. BRITISH COLUMBIA September, 197? Robert Shan-mu Chen, 1977 i In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Robert Shan-mu Chen Department of Comparative Literature The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Datp October 20, 1977- J /ABSTRACT This thesis is a comparative study of the history and literary form of the cyclic myth in Chinese and Western European culture. The cyclic myth is seen as a complex of discrete myths and rituals which tend to identify man with the periodic regeneration of nature and celestial bodies in order to ensure personal duration against the flux of time. By comparing the origins and transformations of the cyclic myth in both cultures the essential distinctions between Chinese and Western literature will be re• vealed as both cosmological and ontological. -
CURRICULUM VITAE Qianshen Bai [email protected]
CURRICULUM VITAE Qianshen Bai [email protected] EDUCATION 1996 Ph.D. in History of Art, Yale University 1993 M.Phil. in History of Art, Yale University 1992 M.A. in History of Art, Yale University 1990 M.A. in Political Science, Rutgers University, New Brunswick, New Jersey 1985-86 Graduate Program in Political Science, Peking University, Beijing, China 1982 Bachelor of Law, Peking University TEACHING EXPERIENCES 2004- Associate professor of Asian art history, Department of Art History, Boston University 2002 Visiting assistant professor, Department of History of Art and Architecture, Harvard University (Spring semester) 1997- Assistant professor of Asian art history, Department of Art History, Boston University 1996-97 Assistant professor of Asian art history, Department of Art, Western Michigan University 1995 Instructor of Asian art history, Department of Art, Western Michigan University 1994 Co-instructor for the graduate seminar “Methods and Resources for the Study of Premodern China,” Yale University 1994 Instructor for the Yale College Seminar “The History and Techniques of Chinese and Japanese Calligraphy,” Yale University 1992 Teaching assistant for “Introduction to the History of Art,” Yale University 1987-90 Visiting instructor of calligraphy, Department of East Asian Language and Literature, Rutgers University 1982-85 Instructor of the history of Chinese political institutions, Peking University AWARDS AND HONORS 2011-12 Fellowship offered by the National Endowment for the Humanities. 2011 Jeffery Henderson Senior Research Fellowship, -
Annual Report 2019 Corporate Information (Continued)
(於開曼群島註冊成立之有限公司) (股份代號: ) CONTENTS 2 Corporate Information 4 Financial and Operational Highlights 6 Chairman’s Statement and Management Discussion and Analysis 29 Corporate Governance Report 42 Directors and Senior Management 46 Report of the Directors 64 Independent Auditor’s Report 66 Consolidated Statement of Profit or Loss and Other Comprehensive Income 68 Consolidated Statement of Financial Position 70 Consolidated Statement of Changes in Equity 72 Consolidated Statement of Cash Flows 74 Notes to the Consolidated Financial Statements 178 Financial Summary CORPORATE INFORMATION Directors Remuneration Committee Executive Directors Dr. Bao Jiming (Chairman) Mr. Zhou Guanxuan Mr. Xiao Shu (Chairman and Chief Executive Officer) Mr. Lau Tze Cheung Stanley Mr. Zhou Guanxuan (Vice Chairman) Mr. Tan Jibin Mr. Li Honggao Nomination Committee Mr. Wang Yonghui Mr. Xiao Shu (Chairman) Non-Executive Directors Dr. Chan Yuk Sing Gilbert Mr. Wang Duo (Resigned on 11 May 2020) Mr. Gu Jiuchuan Ms. Sui Wei (Appointed on 20 February 2019 and resigned on 14 April 2020) Mr. He Sean Xing (Resigned on 20 February 2019) Auditor Ms. Gui Songlei (Resigned on 21 May 2020) Ernst & Young Independent Non-Executive Directors Certified Public Accountants Mr. Lau Tze Cheung Stanley Dr. Bao Jiming Principal Bankers Dr. Chan Yuk Sing Gilbert Mr. Gu Jiuchuan Standard Chartered Bank (Hong Kong) Limited Standard Chartered Bank (China) Limited Company Secretary China CITIC Bank Corporation Limited Shanghai Pudong Development Bank Co., Ltd. Mr. Tan Jibin Legal Advisers Authorized Representatives As to Hong Kong law: Mr. Xiao Shu Simpson Thacher & Bartlett Mr. Tan Jibin As to PRC law: Audit Committee Shu Jin Law Firm Mr. -
Commonlit | the Four Dragons
Name: Class: The Four Dragons In this folktale, four dragons work to help a community that is suffering from a long drought. As you read, take notes on what the dragons do to help the people. [1] Once upon a time, there were no rivers and lakes on earth, but only the Eastern Sea, in which lived four dragons: the Long Dragon, the Yellow Dragon, the Black Dragon, and the Pearl Dragon. One day the four dragons flew from the sea into the sky. They soared and dived, playing at hide- and-seek in the clouds. “Come over here quickly!” the Pearl Dragon cried out suddenly. “What’s up?” asked the other three, looking down in the direction where the Pearl Dragon pointed. On the earth they saw many people putting out "Untitled" by Rhonlee is licensed under CC0 fruits and cakes, and burning incense sticks. They were praying! A white-haired woman, kneeling on the ground with a thin boy on her back, murmured, [5] “Please send rain quickly, God of Heaven, to give our children rice to eat.” For there had been no rain for a long time. The crops withered, the grass turned yellow and fields cracked under the scorching sun. “How poor the people are!” said the Yellow Dragon. “And they will die if it doesn’t rain soon.” The Long Dragon nodded. Then he suggested, “Let’s go and beg the Jade Emperor for rain.” So saying, he leapt into the clouds. The others followed closely and flew towards the Heavenly Palace. Being in charge of all the affairs in heaven, on earth, and in the sea, the Jade Emperor was very powerful. -
The Four Pillars and the Landscapes of Change
The Four Pillars and the Landscapes of Change Stephen Karcher Ph.D. Contents The Four Pillars and the Landscape of Change Azure Dragon Palace: Spring/Wood Vermillion Bird Palace: Summer/Fire White Tiger Palace: Fall/Metal Black Turtle Palace: Winter/Water Central Palace: The Playing Field of Earth The Four Pillars and the Landscape of Change Stephen Karcher Ph.D. The Four Pillars Chart is one of the divinatory practices that have their roots in the great wisdom tradition of Change. The Four Pillars are the four corners of your world, four inner characters life gives you. These characters interact to shape your identity and define the playing field where your dialogue with destiny takes place. When we use the deep background of the Classic of Change, combined with the perspectives of archetypal psychology, image work and chaos and complexity theory to understand the Four Pillars, they open an old sacred cosmos that has acted as a place of close encounter with the spirit world for countless generations. 31:32 Conjoining and Persevering displays the process through which spirit enters and influences the human world, offering omens that, when given an enduring form, help the heart endure on the voyage of life. This cosmos has the shape of the Numinous Turtle, swimming in the endless seas of the Way or Dao. Heaven is above, Earth and the Ghost River are below, the Sun Tree lies to the East, the Moon Tree is in the far West. The space between, spread to the Four Directions, is the world we live in, full of shrines and temples where we talk with the ghosts and spirits.