DOCSLIB.ORG

A Sanpan Shan Chariot Ornament and the Xiangrui Design in Western Han Art Author(S): Wu Hung Reviewed Work(S): Source: Archives of Asian Art, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sanpan Shan Chariot Ornament and the Xiangrui Design in Western Han Art Author(S): Wu Hung Reviewed Work(S): Source: Archives of Asian Art, Vol A Sanpan Shan Chariot Ornament and the Xiangrui Design in Western Han Art Author(s): Wu Hung Reviewed work(s): Source: Archives of Asian Art, Vol. 37 (1984), pp. 38-59 Published by: University of Hawai'i Press for the Asia Society Stable URL: http://www.jstor.org/stable/20111143 . Accessed: 19/12/2011 18:10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp 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]. University of Hawai'i Press and Asia Society are collaborating with JSTOR to digitize, preserve and extend access to Archives of Asian Art. http://www.jstor.org A Sanpan Shan Chariot Ornament and the Xiangrui Design inWestern Han Art Wu Hung Harvard University THE DATE AND THE OWNER In 1965 the cultural relics team of Hebei province a in the People's Republic of China excavated three This chariot ornament belonged to set of chariot at was a large tombs Sanpan Shan,a Dingxianb county. fittings and used to join the handle of canopy in a With the advance of the Cultural Revolution to carriage.6 From pertinent archaeological evi the following year, however, the unearthed mate dence and relevant historical documents, we can were un a rials along with the relevant records left derive fairly clear idea of the date and place of its a attended in provincial storeroom to gather dust. manufacture, as well as of the status of its owner. They remained virtually unknown to all but the The three tombs (Mi20, M121, and M122, ac small number of persons directly concerned with cording to the designation of the Hebei^ Museum) ten one are their handling until years later, when of located side by side from east to west, facing a were on the artifacts from these tombs, chariot ornament, south.7 High earthen tumuli built top of was selected for exhibition in the United States.1 each grave, giving the place its name, Sanpan This was the first time an item from these excava Shan, which means "three circular mounds." Each was to a a tions shown the public; in the words of tomb has wooden chamber in vertical pit that Professor Li Xueqin,c "this particular work of art is further divided into parts, the front containing won the admiration of many during exhibitions funerary objects, and the back, the body of the both in China and abroad"2 (Fig. ia). deceased.8 Since this kind of wooden chamber ornament Inmy opinion, this chariot is signifi tomb, typical of the Western Han in Hebei prov art was cant for the study of Chinese history in two ince, later replaced by the brick tomb during as respects. First, Shi Shuqing^ has pointed out, it the Eastern Han period,9 this feature of the San a demonstrates outstanding skill in gold and silver pan Shan tombs provides valuable clue to the inlay of bronze.3 It could be said that in the chariot probable date of their construction. ornament this special technique reached its apex Lunu,B the capital of the ancient Zhongshan*1 a was following long development that began in the feudatory state during the Han dynasty, lo to Spring and Autumn period.4 Second, this piece cated in Dingxian county.10 According Li a epitomizes popular Han dynasty art motif that DaoyuanV Shuijing Zhuj four of the princes of were may be called the xiangruie (good omen) design. this kingdom buried in the vicinity of the This art motif has been discussed by various schol capital.n Archaeological finds confirm his report. ars, such as Laufer and Hay asi, who have each Three tombs, all located in suburbs of Dingxian, focused on Eastern Han variations of the Western have been identified as the tombs of Prince Huaik A.D. Han xiangrui design.5 To my knowledge, how (d. 55 b.c.), Prince Jian1 (d. 90), and Prince no one ever, has studied the Western Han design Mum (d. A.D. 174) of the Zhongshan.12 In tomb were itself. This article will discuss the date and subject M120 of the Sanpan Shan tombs, two seals matter of the Sanpan Shan chariot ornament, what found bearing the names of Liu Jiaojun11 and Liu the xiangrui design signified to the people ofthat Zhanshi.0 In tomb M121 was found a piece of to customs time, how this design related their and stamped clay that bears the royal title Zhongshan. ideas, and this motif's artistic realization. Another tomb, M122, yielded two bronze vessels 38 inscribed with the characters Zhongshan NeifuP figures in four scenes. This kind of inlaid pictorial was (the royal house of Zhongshan). Liu the fam work requires costly materials, highly skillful cut name an ily of the Han^ royal family, of which ting and inlay techniques, and extraordinary one Zhongshan was lineage. These finds indicate amount of meticulous work. To date we know of that these three tombs belonged to the royal fam only one similar chariot ornament, in the collec ily of Zhongshan state. For identifying the per tion of Tokyo Art Institute (Fig. 2).20 Since the sons buried in these tombs, a passage in the Shui decor of these two works has almost identical mo a jing Zhu provides valuable record: "The Kor tifs and shares certain artistic characteristics, and runs no River continues to flow eastward and north since comparable artifacts have been found in tu.s or of Bai The tomb of Prince Kang? (of Zhong the earlier later graves of Zhongshan princes son shan), of Prince Qing,u lies to the south. It can (though these graves contain some of the finest be identified as a group of three tombs built side inlaid work of the times), I would venture the by side."13 The ancient Ko River, now known as opinion that this kind of inlaid pictorial decora runs was 100 the Tangv River, north of the Sanpan Shan tion mainly used in the period around tombs.14 This correlation has led the author of b.c., as indicated by the date of the tomb at San to Dingxian Zhi to believe that the Sanpan Shan pan Shan belonging Prince Kang of Zhongshan east state. tombs that lie of the present Baitu village belonged to Prince Kang's family.15 From tomb THE XIANGRUI DESIGN M122, which is the largest of the three, came the most elaborate chariot the fittings, including The motif of the decor on the Sanpan Shan orna discussed in this article. These facts piece may ment has been called the hunting design.21 Similar that this was the of Prince suggest tomb Kang decorations have also been called animal designs. who was buried in b.c.16 The com himself, 90 other It ismy belief that these appellations are not tombs be those of his wife and son.17 even may pletely accurate because though the designs So far of the eight graves of five generations of consist of animals and hunters, their meaning rulers Zhongshan have been found in Hebei differs from that of the hunting designs of the As shown contents a ex province.18 by the of the Warring States period. Because new idea is when a a as graves, Zhongshan prince died, large pressed, Iwill refer to this motif xiangrui. number of chariots was often buried together Xiangrui refer to certain phenomena that the with a one. as him, including highly elaborate From people of the Han dynasty interpreted expres historical records and from the study of the tombs sions of the will of Heaven. For example, if beau of the Zhangshan princes, we know that this type tiful birds of multicolored feathers came to rest on of elaborate chariot was a status a symbol of the the palace roof, if the emperor found qilinx (uni This means a a or royal prince.19 that when former corn) during hunt, if one stalk of wheat had was prince's royal chariot buried with its owner, many ears of grain, it was understood to mean another one had to be made for successor. em his The that Heaven had bestowed its blessing on the ornament particular under consideration here be peror's rule. Good omens indicated that the ruling to a set of coun longs extremely elaborate chariot fit emperor was enlightened and governed his from tings the tomb of Prince Kang. Its date can try well. In contrast to the auspicious xiangrui the be estimated to no fall between and 90 b.c., the Han people considered other natural phenomena, of Prince as or years Kang's rule. such eclipses big gusts of wind, to represent Differing from all other chariot ornaments Heaven's dissatisfaction.22 This view of natural in found the tombs of Zhongshan princes, the phenomena already existed before the QinY dy a decor of the Sanpan Shan piece is complete pic nasty, especially during the Eastern Zhou.2 But torial at omens were more composition, skillfully inlaid with gold, sil that time evil frequently ver, turquoise, and gems, that successfully creates mentioned. The Spring and Autumn Annals (Chun mountains, plants, and 125 human and animal Q/waa) records solar eclipses and earthquakes 39 i Chariot bronze inlaidwith same.
Load more

Recommended publications
  • The Textiles of the Han Dynasty & Their Relationship with Society
    The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33
    [Show full text]
  • Inheritance, Protection and Innovative Development of China's Intangible Cultural Heritage—Carved Lacquerware
    https://doi.org/10.37420/icaces.2020.031 Inheritance, Protection and Innovative Development of China's Intangible Cultural Heritage—Carved Lacquerware Desai Jiang, Yue Xu College of Arts, Guilin University of Technology, Guilin 541006, China Abstract: This paper studies the protection and inheritance of this precious China’s intangible cultural heritage from the aspects of carving lacquer technology, personnel training and innovation. Focusing on the protection of carving lacquer technology and the innovation in the design and production of carved lacquer handicrafts, it is proposed to protect the carving lacquer technology from three aspects which is intellectual property right, personnel training and raw material. In terms of technical innovation, the possibility of combining carved lacquer with various materials is studied and analyzed. Keywords: Carved lacquer; Arts and crafts; Lacquerware; Intangible cultural heritage 1 Introduction Carved lacquer is a unique category of arts and crafts in China. It can also be called Tihong, Tihuang,Tihei,Ticai and Tixi, because of its different colors. Among them, Beijing carved lacquerware is the most representative example, and has many quality products in the world. Carved lacquer has a long history. According to records, it can be traced back to the Tang Dynasty. The Yuan Dynasty carved lacquer gradually flourished, and the Ming and Qing Dynasties were its heyday of development. Carved lacquer handicrafts have won many awards in international expositions and earned a lot of foreign exchange for the country in special period. In 2006, carved lacquer was listed in the first batch of national intangible cultural heritage list in China. Unfortunately, since the 1990s, the carved lacquer industry has gradually shrunk, as the number of employees is extremely reduced and the trend is aging, cause the inheritance of skills has seriously broken down.
    [Show full text]
  • Analysis of Artistic Characteristics of Chu Lacquerworks
    2018 International Conference on Education, Management and Social Science (EMSS 2018) ISBN: 978-1-60595-554-4 Analysis of Artistic Characteristics of Chu Lacquerworks Han-Qing Ge Abstract: Chu lacquer has become the representative of lacquer art in the Warring States Period because of its variety and excellent production. This article elaborates its unique artistic features through the analysis of the selection, types and modeling arts, colors, decoration and other aspects of Chu lacquer ware. Keyword: Chu Lacquerware, Fetus, types and shapes, decorative techniques, patterns Chu State is a country with a long history and amazing color in Chinese history. During the Warring States period, only the Chu State could contend with the Qin State and there was a trend of being divided by the world with Qin. According to "Huainanzi • soldier slightly training" records, "South Juan Yuan Xiang, north around Ying Si, West Bao Ba Shu, East Huai Huai, Ying Ru thought , Jianghan that pool, Yuan to Deng Lin, cotton with Fangcheng, Chu's strong, the earth in public, in points world. "Thus, Chu territory was almost covered the entire southern region. At present, the construction of major provincial capital cities in central and southern China all have the credit of the Chu Kingdom. At the same time, the Chu culture has gradually infiltrated into various places. Most of the lacquer wares from the Warring States Period come from the Chu Tomb. During this period, the lacquer ware manufacturing industry entered an unprecedented prosperity stage. It is the first peak of the development of Chinese lacquer ware art. There are three reasons for this: First, Chu is located in a warm and humid subtropical region, 15 degrees Celsius temperature and 1100 mm rainfall, even if the production process of lacquer simplification, but also easy to form a high-quality film.
    [Show full text]
  • Art at the Crossroads: Lacquer Painting in French Vietnam
    126 Art at the Crossroads Art at the Crossroads: Lacquer Painting in French Vietnam Lisa Bixenstine Safford, Hiram College During the last phase of French occupation in Vietnam (1887–1954), a new and unique direction for pictorial arts was inaugurated that continues to inform the country’s art scene to this day.1 In a culture that lacked a developed painting tradition from which to draw inspiration, painting with lacquer formed a distinctive and novel medium that could be applied to fresh artistic subjects. In 1925 the arts first began to evolve rapidly thanks to the creation of the École Superieure de Beaux Arts d’Indochine, a new school in Hanoi that was founded by the relatively unknown French painters Victor Tardieu (1870– 1937) and Joseph Inguimberty (1896–1971).2 Together with other artists such as Nguyễn Vạn Thọ (1890–1973, better known as Nam Sơn), who was sent to Paris for a year of training in 1924 for his new post as an art instructor,3 they embarked on a mission civilisatrice to educate promising artisans (thợ vẽ) so that they would advance to the status of “artists” (hoạ sĩ) and subsequently sign their works as individual creators.4 The French colonial view that La France d’Asie possessed no distinctive artistic and cultural identity was central to the school’s inception.5 Thus, the school set about creating a new cultural identity that was grafted from a modernist French pictorial language of art. The students’ training in European artistic styles eventually merged with East Asian and indigenous wood-based, folk craft sources, the privileging of which can be read as a rejection of French style.
    [Show full text]
  • Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(S): Eugene Yuejin Wang Source: the Art Bulletin, Vol
    Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(s): Eugene Yuejin Wang Source: The Art Bulletin, Vol. 76, No. 3, (Sep., 1994), pp. 511-534 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046042 Accessed: 17/04/2008 11:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Eugene Yuejin Wang a 1 Jian (looking/mirror), stages of development of ancient ideograph (adapted from Zhongwendazzdian [Encyclopedic dictionary of the Chinese language], Taipei, 1982, vi, 9853) History as Mirror: Trope and Artifact people.
    [Show full text]
  • Translating Chu Lacquer Wares
    Sumerianz Journal of Education, Linguistics and Literature, 2019, Vol. 2, No. 12, pp. 175-183 ISSN(e): 2617-1201, ISSN(p): 2617-1732 Website: https://www.sumerianz.com © Sumerianz Publication CC BY: Creative Commons Attribution License 4.0 Original Article Open Access Translating Chu Lacquer Wares Shenghua Luo Yangtze University College of Arts and Sciences, Hubei, 434020 P. R. China Yangtze University, Hubei, 434023 P. R. China Abstract As the precious wealth of human civilization, Chu lacquer wares are the carrier that reflects the long history and culture of Chu State or Chu region. The translation of Chu lacquer wares texts in museums plays a very important role in the exchange and demonstration of Chu culture. This paper tries to make it clear about the structural features of Chu lacquer wares texts in museums: the picture of Chu lacquer ware; the name of Chu lacquer ware; the dynasty of the Chu lacquer ware; the unearthed place of Chu lacquer ware; the dimension and background introduction of Chu lacquer ware. Based on the analysis of “texts in museums” rather than “museum as text”, we seek to explore distinct characteristics of the language of Chu lacquer wares texts in museums that are objective, explanatory, communicative and concise. Through investigating the translation of Chu lacquer wares texts in museums, we are able to observe that the main translation methods of each component are transliteration, literal translation, free translation, addition and omission in translation, and a variety of translation methods. It is noted that literal and free translation are popular among various methods. Considering the cultural and historical factors, adopting transliteration mainly by Chinese pinyin is acceptable to handle some special place names, dates, dynasties and so on.
    [Show full text]
  • 50. Encountering Unexpected Challenges in Okinawan Lacquer
    I II I I I I I I I I I I I I I Encountering Unexpected Challenges I in Okinawan Lacquer Conservaon 1 2 3 Anya Dani , Stephanie Spence , and Amaris Sturm 1Art Conservaon Program, Okinawa Ins-tute of Science and Technology; 2SUNY Buffalo State Art Conservaon Program; 3Winterthur/University of Delaware Program in Art Conservaon Abstract: Okinawa is known for its unique material culture, including lacquerware. As the southern-most Japanese prefecture, the Okinawan islands have a truly internaonal history involving links to China, Southeast Asia, mainland Japan, and the United States. In Japan, lacquerware has been tradi-onally conserved by highly trained conservators using urushi-based materials. We expected to see these types of repairs in Okinawan lacquer. However, we instead encountered a variety of deteriorang restoraons using synthe-c materials. We also frequently encountered flaking Hg lacquer and structural damage caused by exposure to Okinawa’s tropical environment. Here we highlight the study and Hg treatment of three 20th century lacquer objects from the Yomitan Museum of History & Folklore. We strove to develop an appropriate and culturally sensi-ve treatment philosophy; balancing our ethical boundaries and skill sets with the Japanese seng. Okinawan Lacquer Introduc2on: Okinawan lacquerware has been heavily influenced by lacquer from the Fujian Province of China.1 Okinawan lacquerware usually has a wooden substrate coated Fig 1: Kakubon, Red Lacquer, pXRF spectrum, 40kv 4.5µA with a water sensi-ve shitaji or ground layer, on top of which layers of urushi are applied. The use of red lacquer pigmented with cinnabar is widespread (Fig 1).
    [Show full text]
  • Lacquerware Chemistry
    Chemistry the key to our future Lacquerware Sake cup of Wajima-nuri Wajima-nuri 輪島塗Lacquerware The lacquerwares made in Wajima City, Ishikawa Japanese lacquerware is believed to have a history Prefecture are called wajima-nuri, or wajima of around 6800 years, and the oldest lacquerware lacquerware, which is prepared by repeatedly has been excavated in Ishikawa. Some of the covering wood or paper with lacquer. The lacquer reasons why lacquering has flourished around used for such craftworks is sap taken and processed Wajima area may have been that essential materials from Japanese lacquer trees. This natural resin for making lacquerware (tree that provides paint mainly consists of urushiol and may cause lacquer and wood for woodworks as well as good allergy. It also contains a catalyst called laccase, diatomite) were abundantly available, and that there and helps the lacquer to were also active markets thanks to the seaports be oxidized in the air and nearby. polymerize to make a real Here is how a lacquerware is made. Making of a hard coating. The climate wajima-nuri starts with obtaining a quality wooden in Japan, especially in basis. Any fragile parts are reinforced by putting Wajima, provides the desired fabric pieces using lacquer. As primer coating, humidity and temperature for mixture of lacquer and jinoko (powdered diatomite) Sap from urushi tree this polymerization reaction. is applied for more than twice, and raw lacquer is applied to further reinforce breakable points. Then middle and finish coatings of lacquer are applied before various decorative techniques, for example, makie (painting in colored lacquer) or chinkin (sunken gold).
    [Show full text]
  • Daoism and Daoist Art
    Heilbrunn Timeline of Art History Daoism and Daoist Art Works of Art (19) Essay Indigenous to China, Daoism arose as a secular school of thought with a strong metaphysical foundation around 500 B.C., during a time when fundamental spiritual ideas were emerging in both the East and the West. Two core texts form the basis of Daoism: the Laozi and the Zhuangzi, attributed to the two eponymous masters, whose historical identity, like the circumstances surrounding the compilation of their texts, remains uncertain. The Laozi—also called the Daodejing, or Scripture of the Way and Virtue—has been understood as a set of instructions for virtuous rulership or for self- cultivation. It stresses the concept of nonaction or noninterference with the natural order of things. Dao, usually translated as the Way, may be understood as the path to achieving a state of enlightenment resulting in longevity or even immortality. But Dao, as something ineffable, shapeless, and conceived of as an infinite void, may also be understood as the unfathomable origin of the world and as the progenitor of the dualistic forces yin and yang. Yin, associated with shade, water, west, and the tiger, and yang, associated with light, fire, east, and the dragon, are the two alternating phases of cosmic energy; their dynamic balance brings cosmic harmony. Over time, Daoism developed into an organized religion—largely in response to the institutional structure of Buddhism—with an ever-growing canon of texts and pantheon of gods, and a significant number of schools with often distinctly different ideas and approaches. At times, some of these schools were also politically active.
    [Show full text]
  • UC GAIA Chen Schaberg CS5.5-Text.Indd
    Idle Talk 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. Joan Judge and Hu Ying, eds., Beyond Exemplar Tales: Women’s Biography in Chinese History 2. David A. Palmer and Xun Liu, eds., Daoism in the Twentieth Century: Between Eternity and Modernity 3. Joshua A. Fogel, ed., The Role of Japan in Modern Chinese Art 4. Thomas S. Mullaney, James Leibold, Stéphane Gros, and Eric Vanden Bussche, eds., Critical Han Studies: The History, Representation, and Identity of China’s Majority 5. Jack W. Chen and David Schaberg, eds., Idle Talk: Gossip and Anecdote in Traditional China Idle Talk Gossip and Anecdote in Traditional China edited by Jack w. cheN aNd david schaberg Global, Area, and International Archive University of California Press berkeley los Angeles loNdoN The Global, Area, and International Archive (GAIA) is an initiative of the Institute of International Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
    [Show full text]
  • Seen in the Recipes for Fifty-Two Ailments (五十二病方) Written in the Mawangdui (馬王堆) Silk Manuscript †
    755 의사학 제28권 제3호(통권 제63호) 2019년 12월 Korean J Med Hist 28ː755-786 December 2019 ⓒ대한의사학회 http://dx.doi.org/10.13081/kjmh.2019.28.755 pISSN 1225-505X, eISSN 2093-5609 A Research on the Shamanistic Medical Activities as Seen in the Recipes for Fifty-two Ailments (五十二病方) Written in the Mawangdui (馬王堆) Silk Manuscript † CHO Yongjun* 1. Introduction 2. A Brief Introduction of the Recipes for Fifty-two Ailments 3. ‘Zhuyou (祝由)’ Activities 4. ‘Zhuyichuxiong (逐疫除凶)’ Activities 5. Curing Maggots Activities 6. Conclusion 1. Introduction As early as the primitive period, in order to survive and reproduce, human beings have made unremitting efforts to prevent and treat diseases that endanger and affect human life and health. Therefore, the ancients had knowledge about the treatment of common traumatic symptoms. Many archaeological results reveal that up until and before the Shang (商) era and Zhou (周) dynasties, the identification of symptoms and causes had reached a fairly high level. On one hand, through the † I would like to express my heartfelt thanks to my two friends, Mr. Guillaume Maisonneuve and Mr. Benjamin Giaimo, for their great English translation of this article. * Assistant Professor, School of History in Renmin University of China, China / E-mail: [email protected]. 755│ 醫史學 제28권 제3호(통권 제63호) 755-786, 2019년 12월 │755 CHO Yongjun : A Research on the Shamanistic Medical Activities as Seen in the Recipes for Fifty- two Ailments (五十二病方) Written in the Mawangdui (馬王堆) Silk Manuscript accumulation of numerous successful or unsuccessful experiences, the methods of medical treatment and the social customs of health care marked, to a certain extent, the civilized development of social life at that time, and at the same time, marked the establishment and improvement of the medical system of later generations in China, laying its foundation (CHO, 2011: 322-325).
    [Show full text]
  • Travelling in China Fathi Habashi
    Laval University From the SelectedWorks of Fathi Habashi February, 2007 Travelling in China Fathi Habashi Available at: https://works.bepress.com/fathi_habashi/48/ SME Annual Meeting Feb. 25-Feb. 28, 2007, Denver, CO Preprint 07-060 TRAVELLING IN CHINA1 F. Habashi, Laval Univ., Quebec City, Canada ABSTRACT Table 1. Trips to China. The changes that took place in China between 1984 and 2004 are Dates Cities visited Remarks remarkable. Visits were made to universities, research institutes, May 1- 26, Beijing Changsha Short course, seminars, metallurgical industry, and many cultural centers within five trips during 1984 Zhuzhou Shanghai industrial and cultural visits this twenty years period. The impressions of these visits are outlined. May 5 – June Hong Kong Guangzhou Short course, seminars, 7, 1990 Changsha Kunming industrial and cultural visits October 14 -18, Shanghai Seminar and cultural visits 2001 Kunming March 29 – Conference, seminars, Hong Kong Shanghai April 15, 2002 cultural visits Beijing October 16 – Xi’an Beijing Conference, cultural visits 24, 2004 Figure 1. Chinese translation of Principles of Extractive Metallurgy. INTRODUCTION HISTORICAL BACKGROUND In October 1981 I met Dr. Chen Chia-Yung, a distinguished From ancient times China was the master of the Far East and her Chinese hydrometallurgist and Deputy Director of the Institute of civilization was copied by Japan and other countries. The ancient Chemical Metallurgy of the Academia Sinica in Beijing, at the Second Chinese have mastered casting of bronze, produced metallic zinc and World Congress of Chemical Engineering that was held in Montreal. white copper (a copper-nickel alloy), and used coal before the While we were taking lunch together he invited me to give a short Europeans.
    [Show full text]