Appendix A: Geomancy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
DIVINATION SYSTEMS Written by Nicole Yalsovac Additional Sections Contributed by Sean Michael Smith and Christine Breese, D.D
DIVINATION SYSTEMS Written by Nicole Yalsovac Additional sections contributed by Sean Michael Smith and Christine Breese, D.D. Ph.D. Introduction Nichole Yalsovac Prophetic revelation, or Divination, dates back to the earliest known times of human existence. The oldest of all Chinese texts, the I Ching, is a divination system older than recorded history. James Legge says in his translation of I Ching: Book Of Changes (1996), “The desire to seek answers and to predict the future is as old as civilization itself.” Mankind has always had a desire to know what the future holds. Evidence shows that methods of divination, also known as fortune telling, were used by the ancient Egyptians, Chinese, Babylonians and the Sumerians (who resided in what is now Iraq) as early as six‐thousand years ago. Divination was originally a device of royalty and has often been an essential part of religion and medicine. Significant leaders and royalty often employed priests, doctors, soothsayers and astrologers as advisers and consultants on what the future held. Every civilization has held a belief in at least some type of divination. The point of divination in the ancient world was to ascertain the will of the gods. In fact, divination is so called because it is assumed to be a gift of the divine, a gift from the gods. This gift of obtaining knowledge of the unknown uses a wide range of tools and an enormous variety of techniques, as we will see in this course. No matter which method is used, the most imperative aspect is the interpretation and presentation of what is seen. -
The Sacrality of the Mountain the Sacrality of the Mountain
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 12-2014 The aS crality of The ounM tain Manuel Rivera Espinoza University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian History Commons, Asian Studies Commons, Comparative Philosophy Commons, History of Religions of Eastern Origins Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Rivera Espinoza, Manuel, "The aS crality of The ounM tain" (2014). Theses and Dissertations. 2072. http://scholarworks.uark.edu/etd/2072 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. The Sacrality of the Mountain The Sacrality of the Mountain A thesis submitted in partial fulfillment of the requirements of the degree of Master of Arts in History by Manuel Rivera Espinoza Universidad de Chile Bachelor in History, 2008 December 2014 University of Arkansas This thesis is approved for recommendation of the Graduate Council. _______________________________ Dr. Rembrandt Wolpert Thesis Director _______________________________ _______________________________ Dr. Liang Cai Dr. Elizabeth Markham Committee Member Committee Member Abstract In this thesis I explore the conception of the mountain as a “sacred space” based on the definition provided by Mircea Eliade -
Ancient Chinese Constellations Junjun Xu Beijing University of Aeronautics and Astronautics Room 424, Apartment 20, No
The Role of Astronomy in Society and Culture Proceedings IAU Symposium No. 260, 2009 c International Astronomical Union 2011 D. Valls-Gabaud & A. Boksenberg, eds. doi:10.1017/S174392131100319X Ancient Chinese constellations Junjun Xu Beijing University of Aeronautics and Astronautics Room 424, Apartment 20, No. 37 Xueyuan Street, Beijing, China email: [email protected] Abstract. China, a country with a long history and a specific culture, has also a long and specific astronomy. Ancient Chinese astronomers observed the stars, named and distributed them into constellations in a very specific way, which is quite different from the current one. Around the Zodiac, stars are divided into four big regions corresponding with the four orientations, and each is related to a totem, either the Azure Dragon, the Vermilion Bird, the White Tiger or the Murky Warrior. We present a general pattern of the ancient Chinese constellations, including the four totems, their stars and their names. Keywords. China, constellations, mansions 1. Introduction Three enclosures, four symbols and twenty-eight mansions characterise the ancient Chinese constellations. This division of the starry sky began to appear in China before the Zhou and Qin dynasties. The three enclosures refer to three areas around the North celestial pole: the Purple Forbidden enclosure, the Supreme Palace enclosure and the Heavenly Market enclosure. The four symbols are distributed near the ecliptic Zodiac and the lunar orbit and are represented by four totems: the Azure Dragon of the East, the Vermillion Bird of the South, the White Tiger of the West and the Black Tortoise of the North. Every symbol was divided into seven sections which were know as mansions. -
The Effects of Superstition As Destination Attractiveness on Behavioral Intention
The Effects of Superstition as Destination Attractiveness on Behavioral Intention Yunzhou Zhang Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Science In Hospitality and Tourism Management Muzaffer Uysal, Committee Chair Ken McCleary Vincent P. Magnini May 2, 2012 Blacksburg, VA Keywords: destination attractiveness, superstition attitude, behavioral intention, superstition as destination attractiveness (SADA) The Effects of Superstition as Destination Attractiveness on Behavioral Intention Yunzhou Zhang ABSTRACT Superstitious beliefs date back thousands of years and continue to the present, and research suggests that superstitious beliefs have a robust influence on product satisfaction and decision making under risk. The study therefore examines how superstition attitude will impact potential tourists’ intention to visit a destination so that relevant organizations (e.g. destination management/marketing organizations) could better understand potential tourists’ behaviors, identify a niche market encompassing those prone to superstition, and tailor the tourism products to the needs and beliefs of potential tourists. The study used a survey instrument which consists of four components: the scale of Superstition as Destination Attractiveness (SADA), the revised Paranormal Belief Scale, the measurement of Intention to Visit, and respondents’ demographics and travel experiences. A mixed-method data collection procedure was adopted -
Eight Transitional Treasures Eight Transitional Treasures 30Th Anniversary Exhibition
Eight Transitional Treasures Eight Transitional Treasures 30th Anniversary Exhibition BERWALD ORIENTAL ART LONDON 2 Introduction [Chinese] Chronology of This exhibition encompasses a ffty-year period that saw the 本展涵蓋明末清初半世紀,見證明代衰亡,滿清立國。自 emperors decline and eventual fall of the Ming dynasty and ended with the 約1620年起至1670年代中期間,中華製瓷工藝之風格及題 Ming dynasty establishment of the new Manchurian Qing dynasty. Lasting roughly Jiajing from 1620 to the mid 1670s, this period marks a remarkable change 材經歷嬗變,非比尋常。雖時局動盪,然官窰並無衰落之 1521 – 1567 in the style and subject matter of Chinese porcelain manufacture. Far Wanli 象,反而推陳翻新,臻藝菁華。明朝宮廷燒製大批瓷器, from suffering a decline during this turbulent time, the imperial kilns 1572 – 1620 壟斷生產,至明末衰落,無力繼承奢風,瓷器工藝改為富 Tianqi experienced a period of astounding creativity and artistic brilliance. 1621 – 1627 The Ming court, whose massive orders had until now totally domi- 商巨賈而製。後者鍾情山水景物,熱衷瓷器鑑賞,成就製 Chongzhen nated porcelain production, could no longer sustain their customary 1628 – 1644 瓷技術創新突破,於中華史上獨一無二。 extravagance and a new clientele of wealthy merchants took their Qing dynasty place. It was the tastes and aspirations of this new clientele, particu- 自宋(西元960 - 1279年)前起,製瓷均乃中國之重要工 Shunzhi larly their love of landscapes, which prompted this period of breath- 1644 – 1661 業,至晚明為極盛。宮廷需求熱切,御窰廠供不應求,故 Kangxi taking innovation in porcelain making, which remains unique in 1662 – 1722 Chinese history. 寄燒於規模較小之民窰,有謂「官搭民燒」。江西景德鎮 Porcelain had been a major industry in China since before the 御窰製作規模龐大,架構精密,除瓷匠與畫師外,司爐、 Song dynasty (960 - 1279) and in the late Ming production was at its 木匠、木材商人、礦工、陶土加工師等從業者眾,或直接 height. Court orders were so numerous that the imperial kilns had to farm out orders to smaller private kilns, a practice that became 受聘,或從中得利,經營、運輸等人數極多,更不在話下。 known as ‘ordered by the government, fred by the people’. -
The Symbol of the Dragon and the Tiger in Chinese and Japanese Art
THE RULERS OF SKY AND EARTH THE SYMBOL OF THE DRAGON AND THE TIGER IN CHINESE AND JAPANESE ART Grade Level This lesson is written for grades 9-12; it can be used in a World History or an Art class. Purpose To look at how symbols of power, the dragon and the tiger, are portrayed in the art of China and Japan; students will then compare and contrast this with the Western conception and portrayal of the dragon. Concepts In the Western world, dragons are portrayed as evil, fire-breathing creatures that must be subdued and killed by heroes. The Western dragon is seen as essentially negative, a symbol of evil and a sign of the devil. In Asia, the dragon is a positive force, a symbol of peace and harmony. Chinese and Japanese dragons are considered to be benevolent and auspicious. They breathe water rather than fire and have the power to bring rain, an important attribute in an agricultural society. The Chinese dragon is a supernatural, mythical creature that inhabits the sky and the waters and is connected with clouds, rains, and fertility on one hand and the emperor and his venerated ancestors on the other. For the last 4,000 years, the dragon has intertwined itself into all phases of China's social and political life as well as every form of art and literature. The dragon is the most important symbol of power, and the symbol of the emperor; no other animal has occupied such an important place in the thought and art of the Chinese people. -
Empty Cloud, the Autobiography of the Chinese Zen Master Xu
EMPTY CLOUD The Autobiography of the Chinese Zen Master XU YUN TRANSLATED BY CHARLES LUK Revised and Edited by Richard Hunn The Timeless Mind . Undated picture of Xu-yun. Empty Cloud 2 CONTENTS Contents .......................................................................................... 3 Acknowledgements ......................................................................... 4 Introduction .................................................................................... 5 CHAPTER ONE: Early Years ............................................................ 20 CHAPTER TWO: Pilgrimage to Mount Wu-Tai .............................. 35 CHAPTER THREE: The Journey West ............................................. 51 CHAPTER FOUR: Enlightenment and Atonement ......................... 63 CHAPTER FIVE: Interrupted Seclusion .......................................... 75 CHAPTER SIX: Taking the Tripitaka to Ji Zu Shan .......................... 94 CHAPTER SEVEN: Family News ................................................... 113 CHAPTER EIGHT: The Peacemaker .............................................. 122 CHAPTER NINE: The Jade Buddha ............................................... 130 CHAPTER TEN: Abbot At Yun-Xi and Gu-Shan............................. 146 CHAPTER ELEVEN: Nan-Hua Monastery ..................................... 161 CHAPTER TWELVE: Yun-Men Monastery .................................... 180 CHAPTER THIRTEEN: Two Discourses ......................................... 197 CHAPTER FOURTEEN: At the Yo Fo & Zhen Ru Monasteries -
340336 1 En Bookbackmatter 251..302
A List of Historical Texts 《安禄山事迹》 《楚辭 Á 招魂》 《楚辭注》 《打馬》 《打馬格》 《打馬錄》 《打馬圖經》 《打馬圖示》 《打馬圖序》 《大錢圖錄》 《道教援神契》 《冬月洛城北謁玄元皇帝廟》 《風俗通義 Á 正失》 《佛说七千佛神符經》 《宮詞》 《古博經》 《古今圖書集成》 《古泉匯》 《古事記》 《韓非子 Á 外儲說左上》 《韓非子》 《漢書 Á 武帝記》 《漢書 Á 遊俠傳》 《和漢古今泉貨鑒》 《後漢書 Á 許升婁傳》 《黃帝金匱》 《黃神越章》 《江南曲》 《金鑾密记》 《經國集》 《舊唐書 Á 玄宗本紀》 《舊唐書 Á 職官志 Á 三平准令條》 《開元別記》 © Springer Science+Business Media Singapore 2016 251 A.C. Fang and F. Thierry (eds.), The Language and Iconography of Chinese Charms, DOI 10.1007/978-981-10-1793-3 252 A List of Historical Texts 《開元天寶遺事 Á 卷二 Á 戲擲金錢》 《開元天寶遺事 Á 卷三》 《雷霆咒》 《類編長安志》 《歷代錢譜》 《歷代泉譜》 《歷代神仙通鑑》 《聊斋志異》 《遼史 Á 兵衛志》 《六甲祕祝》 《六甲通靈符》 《六甲陰陽符》 《論語 Á 陽貨》 《曲江對雨》 《全唐詩 Á 卷八七五 Á 司馬承禎含象鑒文》 《泉志 Á 卷十五 Á 厭勝品》 《勸學詩》 《群書類叢》 《日本書紀》 《三教論衡》 《尚書》 《尚書考靈曜》 《神清咒》 《詩經》 《十二真君傳》 《史記 Á 宋微子世家 Á 第八》 《史記 Á 吳王濞列傳》 《事物绀珠》 《漱玉集》 《說苑 Á 正諫篇》 《司馬承禎含象鑒文》 《私教類聚》 《宋史 Á 卷一百五十一 Á 志第一百四 Á 輿服三 Á 天子之服 皇太子附 后妃之 服 命婦附》 《宋史 Á 卷一百五十二 Á 志第一百五 Á 輿服四 Á 諸臣服上》 《搜神記》 《太平洞極經》 《太平廣記》 《太平御覽》 《太上感應篇》 《太上咒》 《唐會要 Á 卷八十三 Á 嫁娶 Á 建中元年十一月十六日條》 《唐兩京城坊考 Á 卷三》 《唐六典 Á 卷二十 Á 左藏令務》 《天曹地府祭》 A List of Historical Texts 253 《天罡咒》 《通志》 《圖畫見聞志》 《退宮人》 《萬葉集》 《倭名类聚抄》 《五代會要 Á 卷二十九》 《五行大義》 《西京雜記 Á 卷下 Á 陸博術》 《仙人篇》 《新唐書 Á 食貨志》 《新撰陰陽書》 《續錢譜》 《續日本記》 《續資治通鑑》 《延喜式》 《顏氏家訓 Á 雜藝》 《鹽鐵論 Á 授時》 《易經 Á 泰》 《弈旨》 《玉芝堂談薈》 《元史 Á 卷七十八 Á 志第二十八 Á 輿服一 儀衛附》 《雲笈七籖 Á 卷七 Á 符圖部》 《雲笈七籖 Á 卷七 Á 三洞經教部》 《韻府帬玉》 《戰國策 Á 齊策》 《直齋書錄解題》 《周易》 《莊子 Á 天地》 《資治通鑒 Á 卷二百一十六 Á 唐紀三十二 Á 玄宗八載》 《資治通鑒 Á 卷二一六 Á 唐天寶十載》 A Chronology of Chinese Dynasties and Periods ca. -
Daily Life for the Common People of China, 1850 to 1950
Daily Life for the Common People of China, 1850 to 1950 Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access China Studies published for the institute for chinese studies, university of oxford Edited by Micah Muscolino (University of Oxford) volume 39 The titles published in this series are listed at brill.com/chs Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Daily Life for the Common People of China, 1850 to 1950 Understanding Chaoben Culture By Ronald Suleski leiden | boston Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access This is an open access title distributed under the terms of the prevailing cc-by-nc License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org. Cover Image: Chaoben Covers. Photo by author. Library of Congress Cataloging-in-Publication Data Names: Suleski, Ronald Stanley, author. Title: Daily life for the common people of China, 1850 to 1950 : understanding Chaoben culture / By Ronald Suleski. -
The Punishment of Clerical Necromancers During the Period 1100-1500 CE
Christendom v. Clericus: The Punishment of Clerical Necromancers During the Period 1100-1500 CE A Thesis Presented to the Academic Faculty by Kayla Marie McManus-Viana In Partial Fulfillment of the Degree Requirements for the Bachelor of Science in History, Technology, and Society with the Research Option Georgia Institute of Technology December 2020 1 Table of Contents Section 1: Abstract Section 2: Introduction Section 3: Literature Review Section 4: Historical Background Magic in the Middle Ages What is Necromancy? Clerics as Sorcerers The Catholic Church in the Middle Ages The Law and Magic Section 5: Case Studies Prologue: Magic and Rhetoric The Cases Section 6: Conclusion Section 7: Bibliography 3 Abstract “The power of Christ compels you!” is probably the most infamous line from the 1973 film The Exorcist. The movie, as the title suggests, follows the journey of a priest as he attempts to excise a demon from within the body of a young girl. These types of sensational pop culture depictions are what inform the majority of people’s conceptions of demons and demonic magic nowadays. Historically, however, human conceptions of demons and magic were more nuanced than those depicted in The Exorcist and similar works. Demons were not only beings to be feared but sources of power to be exploited. Necromancy, a form of demonic magic, was one avenue in which individuals could attempt to gain control over a demon. During the period this thesis explores, 1100-1500 CE, only highly educated men, like clerics, could complete the complicated rituals associated with necromancy. Thus, this study examines the rise of the learned art of clerical necromancy in conjunction with the re-emergence of higher learning in western Europe that developed during the period from 1100-1500 CE. -
Origin Narratives: Reading and Reverence in Late-Ming China
Origin Narratives: Reading and Reverence in Late-Ming China Noga Ganany Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Noga Ganany All rights reserved ABSTRACT Origin Narratives: Reading and Reverence in Late Ming China Noga Ganany In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”).