The Problem of Identifying Mudan 牡丹and the Tree Peony in Early
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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. -
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. -
Supplement of Responses of Leaf Traits to Climatic Gradients: Adaptive Variation Vs
Supplement of Biogeosciences Discuss., 12, 7093–7124, 2015 http://www.biogeosciences-discuss.net/12/7093/2015/ doi:10.5194/bgd-12-7093-2015-supplement © Author(s) 2015. CC Attribution 3.0 License. Supplement of Responses of leaf traits to climatic gradients: adaptive variation vs. compositional shifts T.-T. Meng et al. Correspondence to: H. Wang ([email protected]) The copyright of individual parts of the supplement might differ from the CC-BY 3.0 licence. Supplement Figure S1: Partial residual plots for the relationships between leaf traits and the Cramer-Prentice moisture index (α), from a GLM analysis with PFT identity included as a predictor. Each point represents a species-site combination; fitted lines for each PFT are indicated by colours. Figure S2: Partial residual plots for the relationships between leaf traits and the Cramer-Prentice moisture index (α), from a GLM analysis with PFT × climate interactions included as predictors. Each point represents a species-site combination; fitted lines for each PFT are indicated by colours. Only significant PFT × climate interactions (P < 0.01) are shown. Figure S3: Partial residual plots for the relationships between leaf traits and growing degree days (GDD0), from a GLM analysis with PFT identity included as a predictor. Each point represents a species-site combination; fitted lines for each PFT are indicated by colours. Figure S4: Partial residual plots for the relationships between leaf traits and growing degree days (GDD0), from a GLM analysis with PFT × climate interactions included as predictors. Each point represents a species-site combination; fitted lines for each PFT are indicated by colours. -
C:\Mike's Documents\Book\Thirdedition
Insert as an Additional Taxa For Ardisia japonica: Ardisia crenata J. Sims Coralberry (Ardisia crenulata) C This is species is also known as Spiceberry; Coralberry is a larger version of A. japonica forming a rounded woody evergreen shrub 3N to 5N(6N) tall; the 4O to 6O(8O) long elliptic-lanceolate to oblanceolate lustrous dark green leaves have crenate-undulate margins; the foliage tends to be bunched toward the ends of the stems; the specific epithet refers to these crenate leaves. C Plants have small ¼O long white to pink inverted urn-shaped flowers in cymes in spring to summer; however, the species’ primary asset is the massed clusters of bright shiny red fruits; they are extremely showy, contrasting handsomely with the dark green foliage, ala a holly mimic. C Originating from Japan and Southeast Asia, this species has limited cold tolerance, but good heat tolerance’ it is effective in USDA zones 8(7) to 10 landscapes; plants are prolific seed producers and have naturalized extensively in eastern portions of the Gulf Coast; they are often found along woodland edges, but can tolerate full sun where adequate moisture is available; growth is best in well drained, moist, fertile, acidic to neutral soils; unfortunately, A. crenata can become weedy in favorable environments. C Ardisia crispa (C. Thunberg) A.P. de Candolle, Coral Ardisia, is a similar, but less cold hardy groundcover sometimes encountered along the Gulf Coast in South Texas or as an interiorscape plant. Copyrighted 2005 with all rights reserved by Michael A. Arnold; intended for future inclusion in Landscape Plants For Texas And Environs, Third Edition.. -
The Case of Wang Wei (Ca
_full_journalsubtitle: International Journal of Chinese Studies/Revue Internationale de Sinologie _full_abbrevjournaltitle: TPAO _full_ppubnumber: ISSN 0082-5433 (print version) _full_epubnumber: ISSN 1568-5322 (online version) _full_issue: 5-6_full_issuetitle: 0 _full_alt_author_running_head (neem stramien J2 voor dit article en vul alleen 0 in hierna): Sufeng Xu _full_alt_articletitle_deel (kopregel rechts, hier invullen): The Courtesan as Famous Scholar _full_is_advance_article: 0 _full_article_language: en indien anders: engelse articletitle: 0 _full_alt_articletitle_toc: 0 T’OUNG PAO The Courtesan as Famous Scholar T’oung Pao 105 (2019) 587-630 www.brill.com/tpao 587 The Courtesan as Famous Scholar: The Case of Wang Wei (ca. 1598-ca. 1647) Sufeng Xu University of Ottawa Recent scholarship has paid special attention to late Ming courtesans as a social and cultural phenomenon. Scholars have rediscovered the many roles that courtesans played and recognized their significance in the creation of a unique cultural atmosphere in the late Ming literati world.1 However, there has been a tendency to situate the flourishing of late Ming courtesan culture within the mainstream Confucian tradition, assuming that “the late Ming courtesan” continued to be “integral to the operation of the civil-service examination, the process that re- produced the empire’s political and cultural elites,” as was the case in earlier dynasties, such as the Tang.2 This assumption has suggested a division between the world of the Chinese courtesan whose primary clientele continued to be constituted by scholar-officials until the eight- eenth century and that of her Japanese counterpart whose rise in the mid- seventeenth century was due to the decline of elitist samurai- 1) For important studies on late Ming high courtesan culture, see Kang-i Sun Chang, The Late Ming Poet Ch’en Tzu-lung: Crises of Love and Loyalism (New Haven: Yale Univ. -
Florida Exotic Pest Plant Councils 2017 List Of
CATEGORY II (continued) Gov. The 2017 list was prepared by the Scientific Name** Common Name List Zone FLEPPC List Definitions: Exotic – a species FLEPPC Plant List Committee Florida Exotic Pest Plant Tradescantia spathacea oyster plant C, S introduced to Florida, purposefully or accidentally, from a (Rhoeo spathacea, Rhoeo discolor) natural range outside of Florida. Native – a species Patricia L. Howell, Chair 2012-2017, Broward Tribulus cistoides puncture vine, burr-nut N, C, S Council’s 2017 List of whose natural range includes Florida. Naturalized County Parks, Natural Resources and Land Vitex trifolia simple-leaf chaste tree C, S Management Section, [email protected] Washingtonia robusta Washington fan palm C, S exotic – an exotic that sustains itself outside cultivation Invasive Plant Species Wisteria sinensis Chinese wisteria N, C (it is still exotic; it has not “become” native). Invasive Stephen H. Brown, UF / IFAS Lee County Xanthosoma sagittifolium malanga, elephant ear N, C, S exotic – an exotic that not only has naturalized, Extension, Parks and Recreation Division, The mission of the Florida Exotic Pest Plant but is expanding on its own in Florida native plant [email protected] Council is to support the management of invasive Recent changes to plant names exotic plants in Florida’s natural areas by communities. Janice Duquesnel, Florida Park Service, Florida providing a forum for the exchange of scientific, Department of Environmental Protection, educational and technical information. Old Name New Name Abbreviations: Government List (Gov. List): [email protected] www.fleppc.org Possession, propagation, sale, and/or transport of Aleurites fordii Vernicia fordii David W. -
On the Reconstruction of the Shenxian Zhuan
On the reconstruction of the Shenxian zhuan . School of Oriental and African Studies The Shenxian zhuan is a biographical (or hagiographical) collection of great importance to our understanding of the formation of the Taoist religion in the early centuries of the Common Era. A text of this name was put together by Ge Hong (283–343), but it has long been suspected that the best-known version currently available was actually confected for commercial rather than academic purposes in the sixteenth century from quotations in other sources, and that the direct tradition of the text has been lost. The careful reconstitution of a reliable version of the original work—or at least of an ancient version—has been the goal of a number of scholars, and the appearance of such a work of scholarship in the form of a translation, as part of what will doubtless prove to be a standard reference series for Taoist texts in English, certainly gives full occasion for congratulating not only the author, Robert Ford Campany, but also the series editor and indeed the press that has made the publication of this typographically complex and lengthy monograph possible.1 There is indeed much to admire here, right from the ‘Foreword’ by the series editor, Stephen R. Bokenkamp, which provides (on p. xxii) a stout defence of academic translation against those, including tenure and promotion committees, who see it as ‘just a skill, like taking dictation’.2 This publication does, however, give an unrivalled opportunity for assessing how much we have learned concerning the reconstitution of lost texts from the period of disunion following the collapse of China's first period of imperial unity, and it is on this question of how to go about the work of reconstitution that the following remarks will concentrate. -
F1914.53 Documentation Work Sheet
Freer Gallery of Art Completed: 31 August 2007 F1914.53 Updated: 06 May 2009 (format/bibliography) Trad. attrib. to: Gu Kaizhi 顧愷之 (ca. 345–406) Title: Nymph of the Luo River 《洛神圖》 Luoshen tu Dynasty/Date: Southern Song dynasty, mid-12th to mid-13th century Format: Handscroll Medium: Ink and color on silk Dimensions: 24.2 x 310.9 cm (9-1/2 x 122-3/8 in) Credit line: Gift of Charles Lang Freer Accession no.: F1914.53 Provenance: John C. Ferguson (1866–1945) Ex-collection Duanfang 端方 (1861–1911) Literary subject: Illustration of the rhapsody, or prose-poem (fu 賦), Luoshen fu 洛神賦 (The Nymph of the Luo River), by Cao Zhi 曹植 (192–232).1 The original poem contains 168 lines, while the current painting only illustrates the text starting at about line 111. Judging from this and comparison with other recorded and extant versions of the composition, it is apparent that a little more than half the painting is missing from the front of the scroll, and probably one scene from the rear as well.2 Outside label slip: Duanfang 端方 (1861–1911) 1 Freer Gallery of Art Completed: 31 August 2007 F1914.53 Updated: 06 May 2009 (format/bibliography) Six characters, running script; plus seven characters, smaller running script 顧虎頭《洛 神圖》。希世之珍,匋齋題。 The Nymph of the Luo River, by Gu Hutou [Gu Kaizhi]. A rare treasure of the world; written by Taozhai [Duanfang]. Front mounting silk: Yellow silk brocade with phoenix-and-cloud motif. With signed inside label. Two (2) collector seals. Dimensions: 24.0 x 11.1 cm Inside label slip: Liang Qingbiao 梁清標 (1620–1691) Ten characters, standard script. -
A Abbasid Caliphate, 239 Relations Between Tang Dynasty China And
INDEX A anti-communist forces, 2 Abbasid Caliphate, 239 Antony, Robert, 200 relations between Tang Dynasty “Apollonian” culture, 355 China and, 240 archaeological research in Southeast Yang Liangyao’s embassy to, Asia, 43, 44, 70 242–43, 261 aromatic resins, 233 Zhenyuan era (785–805), 242, aromatic timbers, 230 256 Arrayed Tales aboriginal settlements, 175–76 (The Arrayed Tales of Collected Abramson, Marc, 81 Oddities from South of the Abu Luoba ( · ), 239 Passes Lĩnh Nam chích quái liệt aconite, 284 truyện), 161–62 Agai ( ), Princess, 269, 286 becoming traditions, 183–88 Age of Exploration, 360–61 categorizing stories, 163 agricultural migrations, 325 fox essence in, 173–74 Amarapura Guanyin Temple, 314n58 and history, 165–70 An Dương Vương (also importance of, 164–65 known as Thục Phán ), 50, othering savages, 170–79 165, 167 promotion of, 164–65 Angkor, 61, 62 savage tales, 179–83 Cham naval attack on, 153 stories in, 162–63 Angkor Wat, 151 versions of, 170 carvings in, 153 writing style, 164 Anglo-Burmese War, 294 Atwill, David, 327 Annan tuzhi [Treatise and Âu Lạc Maps of Annan], 205 kingdom, 49–51 anti-colonial movements, 2 polity, 50 371 15 ImperialChinaIndexIT.indd 371 3/7/15 11:53 am 372 Index B Biography of Hua Guan Suo (Hua Bạch Đằng River, 204 Guan Suo zhuan ), 317 Bà Lộ Savages (Bà Lộ man ), black clothing, 95 177–79 Blakeley, Barry B., 347 Ba Min tongzhi , 118, bLo sbyong glegs bam (The Book of 121–22 Mind Training), 283 baneful spirits, in medieval China, Blumea balsamifera, 216, 220 143 boat competitions, 144 Banteay Chhmar carvings, 151, 153 in southern Chinese local Baoqing siming zhi , traditions, 149 224–25, 231 boat racing, 155, 156. -
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. -
Managing Turfgrass in the Shade in Oklahoma
Oklahoma Cooperative Extension Service HLA-6608 Managing Turfgrass in the Shade in Oklahoma Justin Quetone Moss Turfgrass Research and Extension Oklahoma Cooperative Extension Fact Sheets are also available on our website at: David Hillock http://osufacts.okstate.edu Extension Consumer Horticulturist Dennis L. Martin Extension Turfgrass Specialist Introduction Light is a basic requirement for turfgrass growth and trim trees to the point where sufficient light is provided to the is often limiting in the landscape due to shade provided by turfgrass area. Turfgrasses need light for adequate survival trees, shrubs, buildings, homes or other structures. Photosyn- and performance, and even the most “shade tolerant” grass thetically active radiation (PAR) refers to the spectral range of will not thrive in heavily shaded areas (Figure 1). solar radiation from 400 nm to 700 nm (nanometers). Plants contain chlorophyll, which absorbs light in the PAR range Plant Selection for photosynthesis. All turfgrasses will grow best in full-sun While warm-season grasses are generally more heat conditions provided their management requirements are and drought tolerant than cool-season grasses, cool-season satisfied. In shaded areas, the specific wavelengths of light grasses are generally more shade tolerant than warm-season available to a turfgrass plant are altered and the amount of light grasses (Tables 1-3). Bermudagrasses (Cynodon spp.) are available can reduce the plant's ability to efficiently perform the most commonly planted lawn grasses in Oklahoma. Ber- photosynthesis. Consequently, turfgrasses can be difficult to mudagrass is relatively heat and drought tolerant but has poor grow in shady areas, and proper management strategies are shade tolerance.