From Co-Loa to the Trung Sisters' Revolt
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970S and 1980S
Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970s and 1980s XIAORONG HAN EVER SINCE THE BIRTH OF MODERN ARCHAEOLOGY in the nineteenth cen tury, nationalism and politics have been important factors in its development, and as such, archaeologists in various parts of the world have been actively in volved in the construction of ethnic and/or national origins and identities, the corroboration of national myths, the disputes over territories and cultural inven tions, and so on (Diaz-Andreu and Champion 1996; Hudson 1999; Kohl and Fawcett 1995; Meskell 1998; Pai 2000; Silberman 1989; Trigger 1984). Although it is difficult to find a single country in which archaeology is completely free from the influence of nationalism and politics, it is understandable to find that archae ologists operating in authoritarian systems generally have a stronger tendency to develop a close relationship with the nation-state and involve themselves in poli tics because of a lack of academic freedom and independent sources of financial support. Nazi Germany, early twentieth-century Japan, and pre-World War II Soviet Union are extreme examples of the politicization of archaeology (Arnold and Hassman 1995; Hudson 1999: 35, 44; Shnirelman 1996; Trigger 1989: 178 179; Wiwjorra 1996). In post-war Asia, archaeologists in China and Viet Nam were actively engaged in the development of a new wave of nationalist archaeol ogy under the encouragement and sponsorship of the state (Glover 1999; Tong 1995). ' This paper intends to study the nationalist archaeology of China and Viet Nam in the 1970s and 1980s. -
Natural History Connects Medical Concepts and Painting Theories In
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Natural history connects medical concepts and painting theories in China Sara Madeleine Henderson Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henderson, Sara Madeleine, "Natural history connects medical concepts and painting theories in China" (2007). LSU Master's Theses. 1932. https://digitalcommons.lsu.edu/gradschool_theses/1932 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. NATURAL HISTORY CONNECTS MEDICAL CONCEPTS AND PAINTING THEORIES IN CHINA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Sara Madeleine Henderson B.A., Smith College, 2001 August 2007 Dedicated to Aunt Jan. Janice Rubenstein Sachse, 1908 - 1998 ii Preface When I was three years old my great-aunt, Janice Rubenstein Sachse, told me that I was an artist. I believed her then and since, I have enjoyed pursuing that goal. She taught me the basics of seeing lines in nature; lines formed on the contact of shadow and light, as well as organic shapes. We also practiced blind contour drawing1. I took this exercise very seriously then, and I have reflected upon these moments of observation as I write this paper. -
The Later Han Empire (25-220CE) & Its Northwestern Frontier
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Wai Kit Wicky Tse University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian History Commons, Asian Studies Commons, and the Military History Commons Recommended Citation Tse, Wai Kit Wicky, "Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier" (2012). Publicly Accessible Penn Dissertations. 589. https://repository.upenn.edu/edissertations/589 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/589 For more information, please contact [email protected]. Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Abstract As a frontier region of the Qin-Han (221BCE-220CE) empire, the northwest was a new territory to the Chinese realm. Until the Later Han (25-220CE) times, some portions of the northwestern region had only been part of imperial soil for one hundred years. Its coalescence into the Chinese empire was a product of long-term expansion and conquest, which arguably defined the egionr 's military nature. Furthermore, in the harsh natural environment of the region, only tough people could survive, and unsurprisingly, the region fostered vigorous warriors. Mixed culture and multi-ethnicity featured prominently in this highly militarized frontier society, which contrasted sharply with the imperial center that promoted unified cultural values and stood in the way of a greater degree of transregional integration. As this project shows, it was the northwesterners who went through a process of political peripheralization during the Later Han times played a harbinger role of the disintegration of the empire and eventually led to the breakdown of the early imperial system in Chinese history. -
Zen As a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries
Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries by Meng Ying Fan A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by Meng Ying Fan 2020 Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries Meng Ying Fan Master of Arts Department of East Asia Studies University of Toronto 2020 Abstract This essay explores the impact of Chan/Zen on the art of landscape painting in China and Japan via literary/visual materials from the twelfth to sixteenth centuries. By rethinking the aesthetic significance of “Zen painting” beyond the art and literary genres, this essay investigates how the Chan/Zen culture transformed the aesthetic attitudes and technical manifestations of picturing the landscapes, which are related to the philosophical thinking in mind. Furthermore, this essay emphasizes the problems of the “pattern” in Muromachi landscape painting to criticize the arguments made by D.T. Suzuki and his colleagues in the field of Zen and Japanese art culture. Finally, this essay studies the cultural interaction of Zen painting between China and Japan, taking the traveling landscape images of Eight Views of Xiaoxiang by Muqi and Yujian from China to Japan as a case. By comparing the different opinions about the artists in the two regions, this essay decodes the universality and localizations of the images of Chan/Zen. ii Acknowledgements I would like to express my deepest gratefulness to Professor Johanna Liu, my supervisor and mentor, whose expertise in Chinese aesthetics and art theories has led me to pursue my MA in East Asian studies. -
Download File
On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture. -
[Re]Viewing the Chinese Landscape: Imaging the Body [In]Visible in Shanshuihua 山水畫
[Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua 山水畫 Lim Chye Hong 林彩鳳 A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree of Doctor of Philosophy Chinese Studies School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales Australia abstract This thesis, titled '[Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua 山水畫,' examines shanshuihua as a 'theoretical object' through the intervention of the present. In doing so, the study uses the body as an emblem for going beyond the surface appearance of a shanshuihua. This new strategy for interpreting shanshuihua proposes a 'Chinese' way of situating bodily consciousness. Thus, this study is not about shanshuihua in a general sense. Instead, it focuses on the emergence and codification of shanshuihua in the tenth and eleventh centuries with particular emphasis on the cultural construction of landscape via the agency of the body. On one level the thesis is a comprehensive study of the ideas of the body in shanshuihua, and on another it is a review of shanshuihua through situating bodily consciousness. The approach is not an abstract search for meaning but, rather, is empirically anchored within a heuristic and phenomenological framework. This framework utilises primary and secondary sources on art history and theory, sinology, medical and intellectual history, ii Chinese philosophy, phenomenology, human geography, cultural studies, and selected landscape texts. This study argues that shanshuihua needs to be understood and read not just as an image but also as a creative transformative process that is inevitably bound up with the body. -
Shanshui – Chinese Landscape Painting
Shanshui – Chinese Landscape painting Although China during the Tang Dynasty (618 – 906) was well known to many travellers and traders from many countries, this knowledge was lost with the collapse of the Tang. Before Marco Polo travelled to China in the 13th century there only a vague knowledge of an exotic land which was the source of silk. It was not until the 20th century that archaeologists have begun uncovering Chinese history. The Chess Pavilion by Hedda Morrison, shot at Hua Shan. Dynasties from the Tang Dynasty on Tang Dynasty 618 - 906 Five Dynasties / 10 Kingdoms 907 – 959 Sung Dynasty 960 - 1279 Northern Song Dynasty 960- 1127 Southern Song Dynasty 1127 – 1279 Yuan (Mongol) Dynasty 1279 - 1368 Ming Dynasty 1368 - 1644 Qing (Manchu) Dynasty 1644 – 1911 Republic of China 1911- 1949 People's Republic of China 1949 - Map of Tang Dynasty China Inventions Made in China. Some of humankind’s greatest and most world-changing inventions were made in China. For centuries Chinese technology and science were the most advanced in the world. In the Middle Ages (500-1400), many Chinese inventions were transported along The Diamond Sutra, the world’s oldest printed book, published in AD 868 the Silk Road to Europe where many had a during the Tang Dynasty (618–907) huge impact. Chinese inventions include: paper, printing, gunpowder (and fireworks), the compass, paper money, silk, porcelain, the paintbrush, boats equipped with the water-tight buoyancy, kites, umbrellas and the wheelbarrow. Ladies processing new silk, early 12th century painting in the style of Zhang Xuan, Song Dynasty REVISION - REMEMBER Detail of The Wilton THAT: Diptych c. -
The Heart of Ma Yuan the Search for a Southern Song Aesthetic
The Heart of Ma Yuan The Search for a Southern Song Aesthetic Richard Edwards This publication has been generously supported by the Sir Y.K. Pao Publication Fund for publications in Chinese art and architecture. Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong www.hkupress.org © Hong Kong University Press 2011 ISBN 978-988-8028-65-8 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue copy for this book is available from the British Library. Printed and bound by Kings Time Printing Press Ltd. in Hong Kong, China Contents List of Plates vi List of Figures xiv Preface xxviii Acknowledgments xxxii Introduction: Ma Yuan’s Family, Patrons, and Style 1 1 Winter 11 2 Winter into Spring 45 3 The Seasons Extended: Flowers 57 4 Water 89 5 Portraits: Buddhists 107 6 Portraits: Confucian and Daoist 129 7 The Wider Environment and into Landscape 199 8 Transformations 229 Postface 295 Bibliography 299 Index 315 vi List of Plates List of Plates 1 Ma Yuan, Chinese, 1190–1235 4a Unidentified artist, Chinese Thru Snow Mountains at Dawn (Xiaoxue shan Sakyamuni Emerging from the Mountain xing tu) Hanging scroll; ink on paper Album leaf; ink on silk with touches of white 92 x 31.7cm 27.6 x 40 cm Colophon by Xiyan Liaohui Signed “Ma Yuan” Freer Gallery of Art, Smithsonian Institution, National Palace Museum, Taiwan, Republic of China Washington D.C.: Purchase, F1965.9 2a Ma Lin, Chinese, active ca. -
Chinese Paintings in Chinese Publications, 1956-1968: an Annotated Bibliography and an Index to the Paintings
THE UNIVERSITY OF MICHIGAN CENTER FOR CHINESE STUDIES MICHIGAN PAPERS IN CHINESE STUDIES Chang Chun-shu, James Crump, and Rhoads Murphey, Editors Ann Arbor, Michigan Chinese Paintings in Chinese Publications, 1956-1968: An Annotated Bibliography and An Index to the Paintings by E. J. Laing Michigan Papers in Chinese Studies No. 6 1969 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright 1969 by Center for Chinese Studies The University of Michigan Ann Arbor, Michigan 48104 Printed in the United States of America ISBN 978-0-89264-124-6 (hardcover) ISBN 978-0-89264-006-5 (paper) ISBN 978-0-472-12789-4 (ebook) ISBN 978-0-472-90185-2 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ C ontents Foreword and Acknowledgments BIBLIOGRAPHY Notes on the Bibliography 1 Annotated Bibliography 1 INDEX Guide to the Index 33 Key to Biographical Sources 35 Abbreviations used in the Index 37 Key to Short Titles used in the Index 37 Index 41 Foreword and Acknowledgments Among the many contributions to scholarly endeavor in the field of Chinese painting made by Dr. Osvald Siren were his "Annotated Lists of Paintings and Reproductions of Paintings by Chinese Artists. TT These "Annotated Lists" were published as a part of his Chinese Painting, Leading Masters and Principles (The Ronald Press Company, New York, 19 56-58, 7 volumes). Since 19 56, the publication of reproductions of Chinese paint- ings has continued at a great pace throughout the world. -
General Table of Contents (Vol. 15, 2018)
Journal of Mountain Science (Monthly) http://jms.imde.ac.cn General Table of Contents (Vol. 15, 2018) 1-12 GUO Xiao-yi, ZHANG Hong-yan, WANG Ye-qiao, HE Hong-shi, WU Zheng-fang, JIN Ying-hua, ZHANG Zheng-xiang, ZHAO Jian-jun Comparison of the spatio-temporal dynamics of vegetation between the Changbai Mountains of eastern Eurasia and the Appalachian Mountains of eastern North America 13-24 ZHANG Mei-mei, CHEN Fang, TIAN Bang-sen An automated method for glacial lake mapping in High Mountain Asia using Landsat 8 imagery 25-32 LIU Yu-shuo, QIN Xiang, CHEN Ji-zu, LI Zhen-lin, WANG Jing, DU Wen-tao, GUO Wan-qin Variations of Laohugou Glacier No. 12 in the western Qilian Mountains, China, from 1957 to 2015 33-45 LIU Yang, LI Lan-hai, CHEN Xi, YANG Jin-Ming, HAO Jian-Sheng Spatial distribution of snow depth based on geographically weighted regression kriging in the Bayanbulak Basin of the Tianshan Mountains, China 46-58 HUANG Fang-fang, ZHANG Wei-qiang, GAN Xian-hua, HUANG Yu-hui, GUO Yue-dong,WEN Xiao-ying Changes in vegetation and soil properties during recovery of a subtropical forest in South China 59-67 LEE Byeong-Ju, EO SOO Hyung Metagenomic approach revealed effects of forest thinning on bacterial communities in the forest soil of Mt. Janggunbong, South Korea 68-81 Virendra Bahadur SINGH, AL. RAMANATHAN Suspended sediment dynamics in the meltwater of Chhota Shigri glacier, Chandra basin, Lahaul-Spiti valley, India 82-99 REN Zhe, WANG Kun, ZHANG Qi-shu, XU Ze-min, TANG Zheng-guang, CHEN Ji-pu, YANG Ji-qing, XU Zong-heng Earthquake dynamic -
SOMMARI INDD 1-114 Nuovo.Indd
RIVISTA ITALIANA DI MEDICINA TRADIZIONALE CINESE Diretta dal Dott. Lucio Sotte 1/114 Collaborazioni 1 Dal 1985 al 1990 compaiono articoli tratti Sommari dei dalla Revue Françoise de Médecine Traditionelle Chinoise Collaborazioni 2 primi 114 Dal 1990 al 2007 la Rivista Italiana di Medicina Tradizionale Cinese è anche l’edizione italiana del Journal of Traditional fascicoli: Chinese Medicine edito a Pechino a cura dell’Accademia Cinese di Medicina Tradizionale Cinese dal numero Collaborazioni 3 La rivista ha collaborato nel corso dei 23 anni delle sue pubblicazioni con molte altre testate 1-1985 straniere: la Revue of Acupuncture edita in Francia, il Journal of Chinese Medicine al numero edito in Inghilterra Collaborazioni 3 La Rivista ha pubbicato 28 Quaderni di Medicina Naturale dal 114-2008 1992 al 2006 su numerosi argomenti di Medicina Cinese Trimestrale Scientifico - Anno XXIII direttore della Rivista Italiana di s oMedicina m Tradizionale m a Cinese r i dott. Lucio Sotte Sommari NUMERO 1 - ANNO PRIMO N° 1 L’asma bronchiale: eziopatogenesi e terapia G. Di Concetto 29 GENNAIO-FEBBRAIO 1985 Impotenza del Chong Mai nelle pubalgie Discussione sulla sintomatologia ed il trattamento di origine vertebrale U. Lanza 33 della malattia Taiyang Nguyen Van Nghi 3 Agopuntura e medicina sportiva A. Nguyen 35 Classici medici di fondamentale importanza Luo Xiwen 18 Casi clinici G. Di Concetto 38 Le emicranie A. Gourion 19 Le diverse forme classiche di nevralgie NUMERO 3 - ANNO PRIMO RIVISTA facciali e loro terapie P. Hadida 25 N° 3 MAGGIO-GIUGNO 1985 Caso clinico: trattamento con agopuntura Discussione sulla sintomatologia e il trattamento di una sindrome dolorosa della malattia del Taiyang Nguyen Van Nghi 3 da cancro viscerale R. -
Imagining Wu in the Han Aaron Zhao a Thesis Submitted in Partial
Imagining Wu in the Han Aaron Zhao A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2020 Committee: Patricia Ebrey Ping Wang Program Authorized to Offer Degree: Jackson School of International Studies ©Copyright 2020 Aaron Zhao 1 University of Washington Abstract Imagining Wu in the Han Aaron Zhao Chair of the Supervisory Committee: Patricia Ebrey Department of History This master’s thesis attempts to analyze the perception and understanding of the concept of wu 武 in the Han dynasty by exploring the relevant literary sources. It is divided into four subsections. In the “Institutional Promotions of Wu,” I explain how the Qin-Han legacy of military organization of the society makes wu a superior and desirable value. The order of honor by military merits, superiority of military offices in the governmental systems and even naming of certain offices using military terms reflect such promotion of the wu value. In the “Military Aristocratic Lineages” section, I demonstrate by tracing information scattered throughout various biographical records in the dynastic histories that some aristocratic lineages advanced or maintained their status mainly through military services. The “Martial Individualism” section explores the relationship between the individual and the state via their negotiation and struggle of power in using violence. This section is inspired and influenced by Sanctioned Violence in Early China. But one of the differences is that I note the possibility of a non-violent manifestation of wu. Lastly, the “Wu of Women” section analyzes two examples of women who display qualities of wu in the dynastic histories and 2 their significance.