Conservation of Ancient Sites on the Silk Road
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How the Turtle Lost Its Shell: Sino-Tibetan Divination Manuals and Cultural Translation
HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies Volume 38 Number 2 Article 5 December 2018 How the Turtle Lost its Shell: Sino-Tibetan Divination Manuals and Cultural Translation Duncan J. Poupard The Chinese University of Hong Kong, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/himalaya Recommended Citation Poupard, Duncan J.. 2018. How the Turtle Lost its Shell: Sino-Tibetan Divination Manuals and Cultural Translation. HIMALAYA 38(2). Available at: https://digitalcommons.macalester.edu/himalaya/vol38/iss2/5 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Research Article is brought to you for free and open access by the DigitalCommons@Macalester College at DigitalCommons@Macalester College. It has been accepted for inclusion in HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. How the Turtle Lost its Shell: Sino-Tibetan Divination Manuals and Cultural Translation Duncan Poupard This article is a pan-Himalayan story about and transform when it enters different contexts; how the turtle, as a cultural symbol within or in other words, how a turtle can come to lose Sino-Tibetan divination iconography, came to its shell. more closely resemble a frog. It attempts a Keywords: divination, Naxi, Sino-Tibetan, cultural translation. comparative analysis of Sino-Tibetan divination manuals, from Tibetan Dunhuang and Sinitic turtle divination to frog divination among the Naxi people of southwest China. It is claimed that divination turtles, upon entering the Himalayan foothills, are not just turtles, but become something else: a hybrid symbol transformed via cultural diffusion, from Han China to Tibet, and on to the Naxi of Yunnan. -
The Silk Roads: an ICOMOS Thematic Study
The Silk Roads: an ICOMOS Thematic Study by Tim Williams on behalf of ICOMOS 2014 The Silk Roads An ICOMOS Thematic Study by Tim Williams on behalf of ICOMOS 2014 International Council of Monuments and Sites 11 rue du Séminaire de Conflans 94220 Charenton-le-Pont FRANCE ISBN 978-2-918086-12-3 © ICOMOS All rights reserved Contents STATES PARTIES COVERED BY THIS STUDY ......................................................................... X ACKNOWLEDGEMENTS ..................................................................................................... XI 1 CONTEXT FOR THIS THEMATIC STUDY ........................................................................ 1 1.1 The purpose of the study ......................................................................................................... 1 1.2 Background to this study ......................................................................................................... 2 1.2.1 Global Strategy ................................................................................................................................ 2 1.2.2 Cultural routes ................................................................................................................................. 2 1.2.3 Serial transnational World Heritage nominations of the Silk Roads .................................................. 3 1.2.4 Ittingen expert meeting 2010 ........................................................................................................... 3 2 THE SILK ROADS: BACKGROUND, DEFINITIONS -
The Web That Has No Weaver
THE WEB THAT HAS NO WEAVER Understanding Chinese Medicine “The Web That Has No Weaver opens the great door of understanding to the profoundness of Chinese medicine.” —People’s Daily, Beijing, China “The Web That Has No Weaver with its manifold merits … is a successful introduction to Chinese medicine. We recommend it to our colleagues in China.” —Chinese Journal of Integrated Traditional and Chinese Medicine, Beijing, China “Ted Kaptchuk’s book [has] something for practically everyone . Kaptchuk, himself an extraordinary combination of elements, is a thinker whose writing is more accessible than that of Joseph Needham or Manfred Porkert with no less scholarship. There is more here to think about, chew over, ponder or reflect upon than you are liable to find elsewhere. This may sound like a rave review: it is.” —Journal of Traditional Acupuncture “The Web That Has No Weaver is an encyclopedia of how to tell from the Eastern perspective ‘what is wrong.’” —Larry Dossey, author of Space, Time, and Medicine “Valuable as a compendium of traditional Chinese medical doctrine.” —Joseph Needham, author of Science and Civilization in China “The only approximation for authenticity is The Barefoot Doctor’s Manual, and this will take readers much further.” —The Kirkus Reviews “Kaptchuk has become a lyricist for the art of healing. And the more he tells us about traditional Chinese medicine, the more clearly we see the link between philosophy, art, and the physician’s craft.” —Houston Chronicle “Ted Kaptchuk’s book was inspirational in the development of my acupuncture practice and gave me a deep understanding of traditional Chinese medicine. -
Silk Road Encounters: Multi-Cultural Interactions in Northwestern China
Silk Road Encounters: Multi-Cultural Interactions in Northwestern China A travelling seminar of the Asian Sphere program Tour leaders: Yuri Pines, Michal Biran and Gidi Shelach The northwestern part of China proper (the modern provinces Gansu, Ningxia, and parts of Shaanxi and Inner Mongolia) is one of the most culturally diverse areas in China. For centuries, this area stood at the center of China’s interactions with other Asian cultures. Major east-west trade routes that pass through the Northwest—i.e., the Chinese section of the so-called Silk Road known as the Gansu corridor—served Western and Central Asian traders and migrants (from whom the contemporary sizeable Muslim minority originated), and from the 13th century onwards also some Europeans. Other, less notable routes, connected the steppe nomads at the north with the dwellers of the Tibet-Qinghai plateau at the south, and further south to Sichuan and even Southeast Asia, and India. The meeting point of four major cultures (Chinese, Islamic, Mongolian and Tibetan) at this vast arid area gave birth to a fascinating variety of interactions: from military struggles to trade, cultural amalgamation, and constant shift and negotiation of individual and collective identities. Some of the most notable features of these interactions are the magnificent Buddhist sites, some of the earliest, richest and best-preserved monuments of Buddhist prosperity on Chinese soil. The Northwest also served as birthplace of one of the most peculiar and enigmatic civilizations on China’s borderlands, namely the Tangut Xi Xia kingdom (1038- 1227). Today, this multi-ethnic area, inhabited by Chinese, Chinese-Muslims (Hui), Mongols, Tibetans, and numerous smaller minorities regains its erstwhile vitality due to beneficent investment policies of the Chinese government and increasing internationalization of local industries (of which rapidly evolving ties between the Ningxia-Hui Autonomous Region and the Arab world are most notable). -
Transformation of Capital City in Tang and Song China, Ca. 700-1100
From Closed Capital to Open Metropolis: Transformation of Capital City in Tang and Song China, ca. 700-1100 Hang Lin [email protected] Abstract. Chang’an of the Tang dynasty (630-907) and Kaifeng of the Song dynasty (960- 1127) represents two major stages in the development of the capital city in premodern China. In contrast to Chang’an, a semi-autonomous walled “urban village” separated by wide expanse of transitory space, Kaifeng was a dense city criss-crossed by ad hoc commercial streets filled with a variety of urban activities during days and nights. Indeed, during this period, a number of significant changes took place, which helped to erode the Tang urban structure and to give birth to a new, one in which the closed walled city transformed into an open market city. Based primarily on textual and material evidence, this paper outlines the characteristics of the layout and structure of the two cities and examines various aspects of the daily life in both cities. This comparative analysis sheds light on the unique pattern of transformation of cities in medieval China. Keywords: Chinese capital city, city transformation, Chang’an, Kaifeng, Tang dynasty, Song dynasty. Introduction Historians of premodern Chinese urbanism have long assumed that the origins of the Chinese imperial city plan stem from a passage in the Kaogong ji (Record of Artificers) section of the classical text Zhouli (Rituals of Zhou), which describes the city of the King of Zhou (Fig. 1): ‘When the artificer build the capital, [the city should be] a square of nine li on each side, with three gates on each side. -
Anne N. Feng Boston University, History of Art and Architecture 725 Commonwealth Avenue, Boston, MA 02215 [email protected]
Anne N. Feng Boston University, History of Art and Architecture 725 Commonwealth Avenue, Boston, MA 02215 [email protected] EMPLOYMENT 2019 Boston University Assistant Professor of Chinese Art, History of Art & Architecture 2018 Harvard University Post-doctoral Fellow, East Asian Languages and Civilizations EDUCATION 2018 Ph.D. University of Chicago (Chicago, IL): Department of Art History Dissertation: Water, Ice, Lapis Lazuli: The Metamorphosis of Pure Land Art in Tang China Committee: Wu Hung (Chair), Paul Copp, Wei-cheng Lin, Niall Atkinson Qualifying Exams (2013): Wu Hung (Chair), Paul Copp, and Foong Ping Visiting Researcher (2014–15): Dunhuang Academy, Gansu, China 2010 B.A. (Hons). New York University: Art History, Honors Thesis Looking into King Yama’s Mirror -Ten Kings of Hell and Salvation for Southern Song Elite PUBLICATIONS 2021 “The Imprisoned Queen: Landscape Representation and Pure Land Art in Tang China”, Archives of Asian Art, forthcoming, Spring 2021. “Introduction to Transformation Tableaux”, in Dunhuang tuxiang daolun 敦煌图像导论 [Introduction to Dunhuang Imagery], edited volume by Sha Wutian, Institute for Advanced Studies in Humanities and Social Sciences, Shaanxi Normal University, Lanzhou: Gansu wenhua chu banshe, forthcoming. 2020 Review of BuYun Chen, Empire of Style: Silk and Fashion in Tang China. Seattle: Washington University Press, 2019, Studies in Late Antiquity: A Journal, Summer (2020): 236-239. “Chongdu dunhuang mogaoku 209ku shanshui yu weishengyuan tuxiang 重讀敦煌莫高窟 209 窟山 水與未生怨圖像.” [Rethinking Landscape Imagery and the Ajātaśatru Narrative in Mogao Cave 209]. In Sichou zhilu yanjiu jikan 絲綢之路研究集刊 [Journal of Silk Road Studies], 2020, forthcoming. “Luminescent Visions: Transparency and Transformation in Medieval China”, Art and Materiality volume by Center for the Art of East Asia and the Smart Museum of Art, University of Chicago, forthcoming. -
Analysis on the Spatial Structure Characteristics of Gansu Tourism
Advances in Social Science, Education and Humanities Research, volume 480 Proceedings of the 2020 5th International Conference on Modern Management and Education Technology (MMET 2020) Analysis on the Spatial Structure Characteristics of Gansu Tourism Flow Based on the Social Network Analysis Method JIN Mei1, WU Yihua2* 1School of enconomy and management, Lanzhou Jiaotong University, Lanzhou 730000, China; 2School of enconomy and management, Lanzhou Jiaotong University, Lanzhou 730070,China) * Corresponding author. Email: [email protected] ABSTRACT This paper uses the method of social network analysis, takes the digital footprint of tourists of big data on the Internet as the original data, constructs the network structure map of Gansu tourism flow by using Ucinet and Netdraw software, and systematically describes the spatial structure characteristics of Gansu tourism flow. On this basis, it makes an in-depth analysis of the problems existing in the development of Gansu tourism. It is found that: (1) the level of scenic spots in Gansu has a low matching degree with consumption hot spots, and (2) the tourist flow routes in Gansu show a multi-core and multi-point distribution pattern. Scenic spots such as Mogao Grottoes, Kongtong Mountain, Labrang Temple and Zhangye Danxia Geopark jointly form the core of tourism flow, while scenic spots such as Dadun Gorge, Hesheng Ancient fossil Museum, Xinglong Mountain and Baita Temple are still "isolated island attractions". (3) there is a lack of systematic overall management for the further excavation and high-quality development of tourism resources in Gansu. Keywords:digital feature, tourism flow, social network analysis 1. CONSTRUCTION OF GANSU as the data collection website, and uses the crawler TOURISM FLOW NETWORK software Python to collect the digital footprint data of domestic tourists traveling to Gansu in 2018. -
Research on the Space Transformation of Yungang Grottoes Art Heritage and the Design of Wisdom Museum from the Perspective of Digital Humanity
E3S Web of Conferences 23 6 , 05023 (2021) https://doi.org/10.1051/e3sconf/202123605023 ICERSD 2020 Research on the Space transformation of Yungang Grottoes Art Heritage and the Design of wisdom Museum from the perspective of digital Humanity LiuXiaoDan1, 2, XiaHuiWen3 1Jinzhong college, Academy of fine arts, Jinzhong ShanXi, 030619 2Nanjing University, School of History, Nanjing JiangSu, 210023 3Taiyuan University of Technology Academy of arts, Jinzhong ShanXi 030606 *Corresponding author: LiuXiaoDan, No. 199 Wenhua Street, Yuci District, Jinzhong City, Shanxi Province, 030619, China. ABSTRACT: The pace transformation and innovative design of Yungang art heritage should keep pace with times on the setting of “digital humanity” times, make the most of new research approaches which is given by “digital humanity” and explore a new way of pace transformation of art heritage actively. The research object of this topic is lineage master in space and form and the transformation of promotion and Creativity of Yungang Grotto art heritage. The goal is taking advantage of big data basics and the information sample collection and integration in the context of the full media era. Transferring Yungang Grotto art materially and creatively by making use of the world's advanced "art + science and technology" means, building a new type of modern sapiential museum and explore the construction mode of it and the upgraded version of modern educational functions. approaches which is given by “digital humanity” and explore a new way of pace transformation of art heritage 1 Introduction actively. During the long race against the "disappearance" Yungang Grotto represent the highest level of north royal of cultural relics, the design of the wise exhibition grotto art in the 5th century AD. -
Conservation in China Issue, Spring 2016
SPRING 2016 CONSERVATION IN CHINA A Note from the Director For over twenty-five years, it has been the Getty Conservation Institute’s great privilege to work with colleagues in China engaged in the conservation of cultural heritage. During this quarter century and more of professional engagement, China has undergone tremendous changes in its social, economic, and cultural life—changes that have included significant advance- ments in the conservation field. In this period of transformation, many Chinese cultural heritage institutions and organizations have striven to establish clear priorities and to engage in significant projects designed to further conservation and management of their nation’s extraordinary cultural resources. We at the GCI have admiration and respect for both the progress and the vision represented in these efforts and are grateful for the opportunity to contribute to the preservation of cultural heritage in China. The contents of this edition of Conservation Perspectives are a reflection of our activities in China and of the evolution of policies and methods in the work of Chinese conservation professionals and organizations. The feature article offers Photo: Anna Flavin, GCI a concise view of GCI involvement in several long-term conservation projects in China. Authored by Neville Agnew, Martha Demas, and Lorinda Wong— members of the Institute’s China team—the article describes Institute work at sites across the country, including the Imperial Mountain Resort at Chengde, the Yungang Grottoes, and, most extensively, the Mogao Grottoes. Integrated with much of this work has been our participation in the development of the China Principles, a set of national guide- lines for cultural heritage conservation and management that respect and reflect Chinese traditions and approaches to conservation. -
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. -
Of the Chinese Bronze
READ ONLY/NO DOWNLOAD Ar chaeolo gy of the Archaeology of the Chinese Bronze Age is a synthesis of recent Chinese archaeological work on the second millennium BCE—the period Ch associated with China’s first dynasties and East Asia’s first “states.” With a inese focus on early China’s great metropolitan centers in the Central Plains Archaeology and their hinterlands, this work attempts to contextualize them within Br their wider zones of interaction from the Yangtze to the edge of the onze of the Chinese Bronze Age Mongolian steppe, and from the Yellow Sea to the Tibetan plateau and the Gansu corridor. Analyzing the complexity of early Chinese culture Ag From Erlitou to Anyang history, and the variety and development of its urban formations, e Roderick Campbell explores East Asia’s divergent developmental paths and re-examines its deep past to contribute to a more nuanced understanding of China’s Early Bronze Age. Campbell On the front cover: Zun in the shape of a water buffalo, Huadong Tomb 54 ( image courtesy of the Chinese Academy of Social Sciences, Institute for Archaeology). MONOGRAPH 79 COTSEN INSTITUTE OF ARCHAEOLOGY PRESS Roderick B. Campbell READ ONLY/NO DOWNLOAD Archaeology of the Chinese Bronze Age From Erlitou to Anyang Roderick B. Campbell READ ONLY/NO DOWNLOAD Cotsen Institute of Archaeology Press Monographs Contributions in Field Research and Current Issues in Archaeological Method and Theory Monograph 78 Monograph 77 Monograph 76 Visions of Tiwanaku Advances in Titicaca Basin The Dead Tell Tales Alexei Vranich and Charles Archaeology–2 María Cecilia Lozada and Stanish (eds.) Alexei Vranich and Abigail R. -
Discussion on the Humanities and Artistry of Buddhist Sculptures in Wei, Jin, Southern and Northern Dynasties Changzong Shao1,*
Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Discussion on the Humanities and Artistry of Buddhist Sculptures in Wei, Jin, Southern and Northern Dynasties Changzong Shao1,* 1 School of Ceramic Art, Jingdezhen Ceramic University, Jingdezhen, Jiangxi, China *Corresponding author. Email: [email protected] ABSTRACT Buddhist culture prevailed during the Wei, Jin, Southern and Northern Dynasties. In this turbulent historical period, the ruling class was keen on carving Buddha statues. This religion originated from India began to develop in China. Through the interpretation of Buddhist sculptures of the Jin, Southern and Northern Dynasties, it is found that its artistic quality is not limited by the factors of Buddhism, and is integrated with real life, which embodies the humanities of Buddhism. At the same time, Chinese sculpture art has also entered a new way of development. It is an important manifestation of the sinicization of Buddhist sculpture art, and it is also a testament to the culture of the Central Plains. This thesis focuses on the study of the humanities and artistry of Buddhist sculptures in the Wei, Jin, Southern and Northern Dynasties. Keywords: Wei, Jin, Southern and Northern Dynasties, Buddhism, Sculpture, Humanities and artistry. 1. INTRODUCTION very popular in the Northern Wei Dynasty[1]. The Wei, Jin, Southern and Northern Dynasties Chinese sculpture has a very high reputation all experienced more than 300 years. The art of over the world. Looking at the role of sculpture in Buddhist sculpture realized sinicization, forming a various social and historical periods, it can be found unique style of Chinese Buddha statues, and its that in different historical periods, the artistic humanity is prominent.