Antiquarianism, Language, and Medical Philology
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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. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C. -
The Development of Naitō Konan's Progressive View of History: a Point
The Development of Naitō Konan’s Progressive View of History: A Point of Convergance with Zhang Xuecheng’s Wenshi tongyi* Tao De-min** Abstract An important feature of Naitō Konan’s historiography is his progressive view of history. The development of this progressive view came not only from modern Western scholarship but also from early-modern Chinese and Japanese traditional scholarship. Examples of such Chinese scholarship are Du You’s Tong dian, Zhu Xi’s Zhuzi yu lei, Wang Yinglin’s Kunxue jiwen and Zhang Xuecheng’s Wen shi tong yi, which were all works that Naitō liked to read. This essay will show Naitō’s points of convergence with Zhang Xuecheng’s scholarship, in particular, his advocating that the Six Classics are all historical works, and will evaluate Naitō’s attempts to fi nd spiritual simi- larities between Chinese and Western scholarship. Key words: Naitō Konan, Hu Shih, Zhang Ertian, Jin Xingxiang, Zhang Xuecheng, Du You, Tominaga Nakamoto, Wenshi tongyi On January 26, 1931, the well-known East Asian historian Naitō Konan (1866–1934) gave a lecture to Emperor Hirohito in the Imperial Palace as part of the New Year’s celebrations. He lectured on historical changes in customs concerning preparation of a corpse for sacrifi ce, following a lord in death, marriage within the same family name, etc., as found in volume 48 of Tongdian (A Comprehensive Collection of Laws and Regulations), by Du You( 735–812), a grand councilor during the Tang dynasty. In Naitō’s notes for the lecture, there is the following comment: * The original Japanese version was published in Ajia yūgaku( Intriguing ASIA) No. -
Book History in PREMODERN China
Book History in Premodern China The State of the Discipline I Cynthia Brokaw Few cultures have enjoyed such a long tradition of literary production and scholarship as China. Writing, in the form of characters scratched on ‘‘ora- cle bones,’’ tortoise plastrons and oxen shoulder bones used to record com- munications with the ancestors of the ruling family, appeared in ancient China by the middle of the second millennium b.c. ‘‘Books,’’ in the form of writing on bamboo slats bound together into rolls, had become both a rou- tine means of making bureaucratic records and a vehicle for the lively intel- lectual and political debates of the Warring States period (481–256 b.c.) and the voluminous works of the Han dynasty (206 b.c.–a.d. 220). The rulers of this dynasty initiated the creation of a canon of sacred texts, even- tually known as the Confucian Classics, to be revered as the carriers of the fundamental ethical and political values of Chinese culture. The invention of paper by the first century b.c. and the gradual spread of its use made writing much more accessible to the literate elite and encouraged the pro- duction of a broad range of texts. Manuscript book culture flourished. By the eighth century (at the latest),1 the Chinese had invented xylogra- phy, the method of reproducing text from characters cut in relief on wooden blocks. Developed first for the production of Buddhist works (the earliest extant book is a beautifully illustrated sutra), the technology was embraced quickly by commercial publishers, who turned out dictionaries, medical texts, almanacs, divination and geomancy manuals, and works on astrol- ogy; and later by the government, which used print to establish standard editions of the Confucian Classics in the tenth century. -
Jian'an Literature Revisited: Poetic Dialogues in the Last Three
Jian’an Literature Revisited: Poetic Dialogues in the Last Three Decades of the Han Dynasty Hsiang-Lin Shih A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David R. Knechtges, Chair Ching-Hsien Wang Zev Handel Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2013 Hsiang-Lin Shih University of Washington Abstract Jian’an Literature Revisited: Poetic Dialogues in the Last Three Decades of the Han Dynasty Hsiang-Lin Shih Chair of the Supervisory Committee: Professor David R. Knechtges Department of Asian Languages and Literature The Jian’an period (196-220), which is best known through the fictionalized account in the Romance of the Three States, is also an important literary period. It is celebrated for its major writers such as Cao Cao, Cao Pi, Cao Zhi and Wang Can. Previous scholars have mainly been concerned with the life and poetry of an individual writer. In this dissertation, I attempt to take an approach that crosses the boundary between individual writers. I read Jian’an poems— including shi, fu, and yuefu—as the authors’ poetic dialogues with their contemporaries. This approach is based on the fact that the writers gathered at the court of Cao Cao and shared the language of poetry. Whether drinking together or living apart, they often engaged in a dialogue on a common topic through the medium of writing. Their topics range from travel, careers, expeditions, to merriment. Like the Athenian speechmakers in Plato’s “Symposium,” Jian’an writers also tried to impress, persuade, entertain and challenge one another in their poems. -
Verse and Lore: ‗Poems on History' (Yongshi Shi) from the Selections of Refined Literature (Wen Xuan)
Verse and Lore: ‗Poems on History‘ (yongshi shi) from the Selections of Refined Literature (Wen xuan) by Yue Zhang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by Yue Zhang (2014) Verse and Lore: ‗Poems on History‘ (yongshi shi) from the Selections of Refined Literature (Wen xuan) Yue Zhang Doctor of Philosophy Department of East Asian Studies University of Toronto 2014 Abstract This dissertation discusses how cultural memory and nostalgia are demonstrated and negotiated in poems through investigating the section of ―Poems on History‖ in the Selections of Refined Literature (Wen xuan 文選). Chapter One lays a solid foundation for further discussion, mainly exploring previous Chinese and English scholarship on poems on history in the early medieval period (220-580) and providing a brief history of this subgenre up to this point. Chapter Two examines why the Wen xuan editors chose certain poems in the section of Poems on History through a case study of the reception of Zuo Si‘s poems. The reception and canonization process of his poems serve as a good example to illustrate how the memory of literary past is shaped and mediated by the intellectual and cultural zeitgeist of this period. Chapter Three deals with the different approaches by which the poets connect historical lore with poetry, and shows the sophistication of poems on history in Chinese literary tradition. The last two chapters discuss two case studies: one is from Zuo Si, an earlier case and the other on Yan Yanzhi, a case closer to the Wen xuan editors‘ time period. -
Geographical Treatise’ Alexis Lycas
Intertextuality, Customs and Regionalism in the ‘Geographical Treatise’ Alexis Lycas To cite this version: Alexis Lycas. Intertextuality, Customs and Regionalism in the ‘Geographical Treatise’. Daniel Patrick Morgan; Damien Chaussende. Monographs in Tang Official Historiography: Perspectives from the Technical Treatises of the History of Sui (Sui shu), 3, Springer International Publishing, pp.287-322, 2019, Why the Sciences of the Ancient World Matter, 978-3-030-18037-9. 10.1007/978-3-030-18038- 6_10. halshs-02308370 HAL Id: halshs-02308370 https://halshs.archives-ouvertes.fr/halshs-02308370 Submitted on 16 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Intertextuality, Customs and Regionalism in the ‘Geographical Treatise’ Alexis Lycas To cite this version: Alexis Lycas. Intertextuality, Customs and Regionalism in the ‘Geographical Treatise’. Daniel Patrick Morgan; Damien Chaussende. Monographs in Tang Official Historiography: Perspectives from the Technical Treatises of the History of Sui (Sui shu), Springer International Publishing, pp.287-322, 2019, 978-3-030-18037-9. 10.1007/978-3-030-18038-6_10. halshs-02308370 HAL Id: halshs-02308370 https://halshs.archives-ouvertes.fr/halshs-02308370 Submitted on 16 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. -
Loyalty, Filial Piety, and Multiple “Chinas” in the Japanese Cultural Imagination
Loyalty, Filial Piety, and Multiple “Chinas” in the Japanese Cultural Imagination, 12th – 16th Centuries Chi Zhang Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Chi Zhang All rights reserved ABSTRACT Loyalty, Filial Piety, and Multiple “Chinas” in the Japanese Cultural Imagination, 12th – 16th Centuries Chi Zhang This project explores Japan’s complex literary and cultural negotiation with China from the twelfth through the sixteenth centuries, focusing on the role of intermediary texts (dictionaries, encyclopedias, and commentaries) and the different modes of receiving and constructing Chinese culture depending on historical periods and scholarly lineages. As the larger process by which Chinese history and literature became part of the Japanese literary culture has long been studied on the assumption that there is direct textual continuity between Japanese texts (in literary Sinitic) and Chinese continental texts, the tracking down of citations, allusion, and references to Chinese source texts has commanded great scholarly attention. Yet this assumption obscures other, equally important histories – such as a popular understanding of Chinese culture, or a conceptual perception of Chinese culture, that was NOT based on direct textual continuity – that lies at the heart of this project. The introduction outlines three modes of receiving and constructing Chinese literary culture in pre-modern japan. One was the text-based, canonical view of Chinese history and literature, which relied almost exclusively on texts and genres that were canonized in the Nara and Heian periods state university (daigakuryō) – Confucian classics, Chinese official dynastic histories, and Chinese poetry. -
The City and Its Representation in Literature
Placing Ye: The City and its Representation in Literature by Joanne Tsao A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved June 2016 by the Graduate Supervisory Committee: Robert Joe Cutter, Chair Stephen R. Bokenkamp Young Kyun Oh ARIZONA STATE UNIVERSITY August 2016 ©2016 Joanne Tsao All Rights Reserved ii ABSTRACT This dissertation examines the history of the early medieval city Ye 鄴 and its place in the literary tradition. Ye was the powerbase of the warlord Cao Cao 曹操 (155–220) and the birthplace of the Jian’an 建安 literature. It was also the capital city of the Later Zhao 後趙 (319–349), the Former Yan 前燕 (337–370), the Eastern Wei 東魏 (534–550), and the Northern Qi 北齊 (550–577). Through a contextualized close reading of a variety of literary and historical texts, including poems, prose, scholar notes, and local gazetteers, this study shows how Ye, destroyed in 580, continued to live on in various forms of representation and material remains, and continued to evolve as an imagined space that held multiple interpretations. The interpretations are represented in works that treat the heroic enterprise of Cao Cao in founding the city, the double-sided poems that collapsed celebration and themes of carpé diem in the Jian'an era, and in tropes of sorrow and lamentation on the glories, or ruins, of the city that had passed its life in a brilliant flash, and then was lost to time and text. Ye’s most iconic structure, the Bronze Bird Terrace, developed a distinct terrace-scape, a nearly mythical space where poets tangled with questions of sorrow, consciousness after death, and lamentation for women forced to serve their lord long after his demise. -
The Development of Naito Konan's Progressive View of History: a Point of Convergance with Zhang Xuecheng's Wenshi Tongyi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kansai University Repository The Development of Naito Konan's Progressive View of History: A Point of Convergance with Zhang Xuecheng's Wenshi tongyi 著者 Tao De-min journal or Journal of Cultural Interaction in East Asia publication title volume 2 page range 33-50 year 2011-03 URL http://hdl.handle.net/10112/4274 The Development of Naitō Konan’s Progressive View of History: A Point of Convergance with Zhang Xuecheng’s Wenshi tongyi* Tao De-min** Abstract An important feature of Naitō Konan’s historiography is his progressive view of history. The development of this progressive view came not only from modern Western scholarship but also from early-modern Chinese and Japanese traditional scholarship. Examples of such Chinese scholarship are Du You’s Tong dian, Zhu Xi’s Zhuzi yu lei, Wang Yinglin’s Kunxue jiwen and Zhang Xuecheng’s Wen shi tong yi, which were all works that Naitō liked to read. This essay will show Naitō’s points of convergence with Zhang Xuecheng’s scholarship, in particular, his advocating that the Six Classics are all historical works, and will evaluate Naitō’s attempts to fi nd spiritual simi- larities between Chinese and Western scholarship. Key words: Naitō Konan, Hu Shih, Zhang Ertian, Jin Xingxiang, Zhang Xuecheng, Du You, Tominaga Nakamoto, Wenshi tongyi On January 26, 1931, the well-known East Asian historian Naitō Konan (1866–1934) gave a lecture to Emperor Hirohito in the Imperial Palace as part of the New Year’s celebrations. -
The Role of Japan in Modern Chinese Art Edited by Joshua A
The Role of Japan in Modern Chinese Art Edited by Joshua A. Fogel Published in association with the University of California Press “This ambitious, very important project defines no less than a new field of inquiry, one that scarcely could have been attempted in the past. The essays in this volume add enor- mously to the documentation of what late-period Chinese art learned from Japan, and begin to formulate conclu- sions that will enrich future accounts of both Japanese and Chinese art.” JAMES CAHILL, University of California, Berkeley The modern histories of China and Japan are inexorably intertwined. Their relationship is perhaps most obvious in the fields of political, economic, and military history, but it is no less true in cultural and art history. Yet the traffic in artistic practices and practitioners between China and Japan remains an understudied field. In this volume, an international group of scholars investigates Japan’s impact on Chinese art from the mid-nineteenth cen- tury through the 1930s. Individual essays address a range of perspectives, including the work of individual Chinese and Japanese painters, calligraphers, and sculptors, as well as artistic associations, international exhibitions, the collotype production or artwork, and the emergence of a modern canon. JOSHUA A. FOGEL is Canada Research Chair and a professor of history at York University, Toron - to, and a specialist in the history of cultural and political ties between China and Japan in the mod - ern era. CONTRIBUTORS: Julia F. Andrews | Shana J. Brown | Chen Jie | Lisa Claypool | Walter B. Davis | Zaixin Hong | Yu-chih Lai | Tamaki Maeda | Kuiyi Shen | Richard Vinograd | Cheng-hua Wang | Aida Yuen Wong New Perspectives on Chinese Culture and Society, 3 The Role of Japan in Modern Chinese Art New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. -
Presence and Praise: Writing the Imperial Body in Han China By
Presence and Praise: Writing the Imperial Body in Han China By Sharon Sanderovitch A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Chinese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Csikszentmihalyi, Chair Professor Michael Nylan Professor Paula M. Varsano Professor Robert H. Sharf Summer 2017 Abstract Presence and Praise: Writing the Imperial Body in Han China by Sharon Sanderovitch Doctor of Philosophy in Chinese Language University of California, Berkeley Professor Mark Csikszentmihalyi, Chair The ruler’s body in early Chinese literature—whether silent and tranquil or bearing the scars of restless public toil; whether emanating light from the depths of the palatial chambers or displaying charisma while traversing the empire—has served as an idiom for the articulation of competing ideals of rulership, governance, and bureaucratization. This work takes the idiom of the ruler’s body and the language of imperial representation as the primary object of scrutiny. It analyzes prevalent rhetorical and literary patterns in light of observations gained in the cross-cultural study of the royal body, metaphor in political discourse, and theories of representation. In particular, I am interested in the way top-down representation, of the ruler by his officials, was conceptualized and advocated in bodily terms, giving rise to some of the most common figures in early Chinese literature. This attention to the work of language in the political discourse of the early imperial period reveals some of the unique features of Chinese theories of monarchy, and brings to light paradigms that structure the literary representation of rulers and rulership across seemingly incompatible genres.