Religion and Nationalism in Chinese Societies
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Bringing the Dead to Life: Identification, Interpretation, and Display of Chinese Burial Objects in the Rewi Alley Collection at Canterbury Museum
Bringing the Dead to Life: Identification, Interpretation, and Display of Chinese Burial Objects in the Rewi Alley Collection at Canterbury Museum A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Art History University of Canterbury Siobhan O’Brien 2016 Contents List of Figures 1 Acknowledgements 6 Introduction 7 Chapter One: History and Provenance of Chinese Burial Objects with identification of examples from the Rewi Alley Collection 14 Chapter Two: The Ontological and Theoretical Complexities of Burial Objects in Museums 44 Chapter Three: Modes of Display of Chinese Burial Objects from the Rewi Alley Collection at Canterbury Museum 75 Conclusion 104 Bibliography 106 Figures 119 1 List of Figures Fig.1 Model of Granary, Han Dynasty (206 B.C.- 220 A.D.), baked earthenware with green pigment, 110x89x141mm (l x w x h), Rewi Alley Collection, Canterbury Museum, Accession number C1948.40, Source: ‘China, Art and Cultural Diplomacy’,(http://ucomeka1p.canterbury.ac.nz/items/show/671) Accessed August 4, 2015. Fig.2 Model of Granary, Han Dynasty (206 B.C.- 220 A.D.), baked earthenware with green pigment, 97x98x223mm (l x w x h), excavated at Wu Wei, Gansu Province, Rewi Alley Collection, Canterbury Museum, Accession number C1947.8, Source: ‘China, Art and Cultural Diplomacy’, (http://ucomeka1p.canterbury.ac.nz/items/show/669) Accessed August 4 2015. Fig.3 Model of Well-Head, Han Dynasty (206 B.C.- 220 A.D.), baked earthenware with green pigment, 115x106x224mm (l x w x h), excavated at Wu Wei, Gansu Province, Rewi Alley Collection, Canterbury Museum, Accession number C1947.9, Source: ‘China, Art and Cultural Diplomacy’, (http://ucomeka1p.canterbury.ac.nz/items/show/670) Accessed August 4 2015. -
Nationalism, Internationalism and Chinese Foreign Policy CHEN ZHIMIN*
Journal of Contemporary China (2005), 14(42), February, 35–53 Nationalism, Internationalism and Chinese Foreign Policy CHEN ZHIMIN* This article examines the role of nationalism in shaping Chinese foreign policy in the history of contemporary China over the last 100 years. Nationalism is used here as an analytical term, rather than in the usual popular pejorative sense. By tracing the various expressions of contemporary Chinese nationalism, this article argues that nationalism is one of the key enduring driving forces which have shaped Chinese foreign policy over the period; as China increasingly integrates herself into this globalized and interdependent world and Chinese confidence grows, the current expression of Chinese nationalism is taking a more positive form, which incorporates an expanding component of internationalism. In recent years, nationalism has been one of the key focuses in the study of China’s foreign policy. In the 1990s, several Chinese writers started to invoke the concept of nationalism, both in their study of Chinese foreign policy and in their prescriptions for the Chinese foreign policy. Likewise, in English-language scholarship the study of Chinese nationalism largely sets the parameters of the debate about the future of Chinese foreign policy and the world’s response to a rising China. An overarching theme of this Western discourse is a gloomy concern with the worrisome nature of recent expressions of Chinese nationalism. Samuel P. Huntington was famously concerned about China’s intention ‘to bring to an end the -
Joan Lebold Cohen Interview Transcript
www.china1980s.org INTERVIEW TRANSCRIPT JOAN LEBOLD COHEN Interviewer: Jane DeBevoise Date:31 Oct 2009 Duration: about 2 hours Location: New York Jane DeBevoise (JD): It would be great if you could speak a little bit about how you got to China, when you got to China – with dates specific to the ‘80s, and how you saw the 80’s develop. From your perspective what were some of the key moments in terms of the arts? Joan Lebold Cohen (JC): First of all, I should say that I had been to China three times before the 1980s. I went twice in 1972, once on a delegation in May for over three weeks, which took us to Beijing, Luoyang, Xi’an, and Shanghai and we flew into Nanchang too because there were clouds over Guangzhou and the planes couldn’t fly in. This was a period when, if you wanted to have a meal and you were flying, the airplane would land so that you could go to a restaurant (Laughter). They were old, Russian airplanes, and you sat in folding chairs. The conditions were rather…primitive. But I remember going down to the Shanghai airport and having the most delicious ‘8-precious’ pudding and sweet buns – they were fantastic. I also went to China in 1978. For each trip, I had requested to meet artists and to go to exhibitions, but was denied the privilege. However, there was one time, when I went to an exhibition in May of 1972 and it was one of the only exhibitions that exhibited Cultural Revolution model paintings; it was very amusing. -
The Discourse of Guohua Inwartime Shanghai
European Journal European Journal of of East Asian Studies 19 (2020) 263–296 East Asian Studies brill.com/ejea The Discourse of Guohua in Wartime Shanghai Pedith Pui Chan School of Oriental and African Studies, University of London, London, UK [email protected] Abstract This article looks at artists’ engagement with artistic activities carried out in wartime Shanghai, with a particular focus on guohua (lit., ‘national painting’). Drawing on pri- mary sources such as archival materials, diaries, paintings, magazines and newspapers, it explores the layered meanings attached to and social functions of guohua and the institutional structure of the Shanghai art world from the gudao (solitary island) period to the advent of full occupation from December 1941 onwards. As a symbol of Chinese elite culture, guohua continued to dominate the Shanghai art world with support from Wang Jingwei’s regime and the occupying Japanese, and was deemed the root of East Asian art and one of the crucial pillars of the East Asian renaissance in the discourse of the new order of East Asian art. Through closely examining the discourse of guohua in occupied Shanghai, this article advances our understanding of the production and consumption of art in wartime Shanghai by going beyond the paradigmatic binary of ‘collaboration’ and ‘resistance’. Keywords art – guohua – Second Sino-Japanese War – Shanghai – occupation 1 Introduction China’s Nationalist government relocated its capital from Nanjing to the city of Chongqing in the southwest of the country as a result of the Second Sino- Japanese War (1937–1945). Artists and resources from major cities such as Shanghai and Beijing migrated westward—either to Chongqing or elsewhere in the southwest, or to communist base areas in the northwest—resulting in an institutional reconfiguration of the Chinese art world. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Ancient Emaki "Genesis" Exploration and Practice of Emaki Art Expression Tong Zhang Digital Media and Design Arts College Beijing University of Posts and Telecommunications Beijing, China 100876 Abstract—The ancient myths and legends with distinctive generation creators such as A Gen, sheep and others, and a Chinese characteristics, refers to myths and legends from dedicated serial picture book magazine "Paint Heart", Chinese Xia Dynasty until ancient times, it carries the origin of "STORY" appears, the delicate picture and vivid story make Chinese culture and it is the foundation of the Chinese nation, it Chinese picture book also developing rapidly and has formed a influence the formation and its characteristics of the national national reading faction craze for outstanding picture books. spirit to a large extent. The study explore and practice the art expression which combines ancient culture with full visual 1) Picture book traced back to ancient Chinese Emaki: impact Emaki form, learn traditional Chinese painting China has experienced a few stages include ancient Emaki, techniques and design elements, and strive to make a perfect illustrated book in Republican period and modern picture performance for the magnificent majestic ancient myth with a books. "Picture book", although the term originated in Japan, long Emaki. It provides a fresh visual experience to the readers and promotes the Chinese traditional culture, with a certain but early traceable picture books is in China. In Heian research value. Kamakura Period Japanese brought Buddhist scriptures (Variable graph), Emaki (Lotus Sutra) and other religious Keywords—ancient myths; Emaki form; Chinese element Scriptures as picture books back to Japan, until the end of Middle Ages Emaki had developed into Nara picture books. -
C. Bibliothèque Municipale De Lyon Collection Notes
Saturday, June 19, 1993 BM Page 1 BM : 1 Keyword #1 : Anarchists Keyword #2 : Propaganda Author # 1 : Hua Lin Keyword bio : Western Hills Author# 2 : Author# 3 : Author# 4 : Title : Zhongguo Guomindangshi [History of the Revolutionary Party) Place of Pub : Shanghai Publisher :shangwu Pub . Vol. : Number: Date of Pub : 1928 Pages: Library# : Notes : Section on CCP . Includes a section supporting the Western Hills faction excludin!;Jthe Commu nists. BM : 10 Keyword #1 :Third Party Keyword #'2 : Philosophical Author # 1 : Luo Longji Keyword bio : Political Theory Author#2 : Author# 3 : Author# 4 : Trtte : Zhengzhi Lunwen [Political Essays) Place of Pub : Shanghai Publisher :.)(inri Shudian Vol.: Number: Date of Pub : 1932 Pages : Library# : Notes : Ten essays on the nature of politics by one of the leaders of the Third party politics, editor of Yishi bao. Saturday , June 19, 1993 BM Page2 BM: 11 Keyword #1 : Education Keyword #2 : Educational Author# 1 : Zhang yunquan Keyword bio : 1930 Author# 2 : Author# 3: Author# 4 : Title : Guoji yundongshi [The International Movements] Place of Pub : Shanghai Publisher :shenzhou Guoguang Vol . : Number : Date of Pub : 1930 Pages : Library#: Notes :A nice overview of Socialist and Communist development, statistics, etc. BM:12 Keyword #1 : Western Hills Keyword #2 : Propaganda Author # 1 : Xiao Qing Keyword bio : 1924 Author#2 : Author# 3 : Author#4 : Title : Gongchandang yinmou da baolu Place of Pub : Guangzhou Publisher :Guangzhou sanmin julebusung Vol.: Number : Date of Pub : 1824 Pages : Library# -
Adaptive Fuzzy Pid Controller's Application in Constant Pressure Water Supply System
2010 2nd International Conference on Information Science and Engineering (ICISE 2010) Hangzhou, China 4-6 December 2010 Pages 1-774 IEEE Catalog Number: CFP1076H-PRT ISBN: 978-1-4244-7616-9 1 / 10 TABLE OF CONTENTS ADAPTIVE FUZZY PID CONTROLLER'S APPLICATION IN CONSTANT PRESSURE WATER SUPPLY SYSTEM..............................................................................................................................................................................................................1 Xiao Zhi-Huai, Cao Yu ZengBing APPLICATION OF OPC INTERFACE TECHNOLOGY IN SHEARER REMOTE MONITORING SYSTEM ...............................5 Ke Niu, Zhongbin Wang, Jun Liu, Wenchuan Zhu PASSIVITY-BASED CONTROL STRATEGIES OF DOUBLY FED INDUCTION WIND POWER GENERATOR SYSTEMS.................................................................................................................................................................................9 Qian Ping, Xu Bing EXECUTIVE CONTROL OF MULTI-CHANNEL OPERATION IN SEISMIC DATA PROCESSING SYSTEM..........................14 Li Tao, Hu Guangmin, Zhao Taiyin, Li Lei URBAN VEGETATION COVERAGE INFORMATION EXTRACTION BASED ON IMPROVED LINEAR SPECTRAL MIXTURE MODE.....................................................................................................................................................................18 GUO Zhi-qiang, PENG Dao-li, WU Jian, GUO Zhi-qiang ECOLOGICAL RISKS ASSESSMENTS OF HEAVY METAL CONTAMINATIONS IN THE YANCHENG RED-CROWN CRANE NATIONAL NATURE RESERVE BY SUPPORT -
Transmission of Han Pictorial Motifs Into the Western Periphery: Fuxi and Nüwa in the Wei-Jin Mural Tombs in the Hexi Corridor*8
DOI: 10.4312/as.2019.7.2.47-86 47 Transmission of Han Pictorial Motifs into the Western Periphery: Fuxi and Nüwa in the Wei-Jin Mural Tombs in the Hexi Corridor*8 ∗∗ Nataša VAMPELJ SUHADOLNIK 9 Abstract This paper examines the ways in which Fuxi and Nüwa were depicted inside the mu- ral tombs of the Wei-Jin dynasties along the Hexi Corridor as compared to their Han counterparts from the Central Plains. Pursuing typological, stylistic, and iconographic approaches, it investigates how the western periphery inherited the knowledge of the divine pair and further discusses the transition of the iconographic and stylistic design of both deities from the Han (206 BCE–220 CE) to the Wei and Western Jin dynasties (220–316). Furthermore, examining the origins of the migrants on the basis of historical records, it also attempts to discuss the possible regional connections and migration from different parts of the Chinese central territory to the western periphery. On the basis of these approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern formed by an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs. Key Words: Fuxi, Nüwa, the sun, the moon, a try square, a pair of compasses, Han Dynasty, Wei-Jin period, Shandong, migration Prenos slikovnih motivov na zahodno periferijo: Fuxi in Nüwa v grobnicah s poslikavo iz obdobja Wei Jin na območju prehoda Hexi Izvleček Pričujoči prispevek v primerjalni perspektivi obravnava upodobitev Fuxija in Nüwe v grobnicah s poslikavo iz časa dinastij Wei in Zahodni Jin (220–316) iz province Gansu * The author acknowledges the financial support of the Slovenian Research Agency (ARRS) in the framework of the research core funding Asian languages and Cultures (P6-0243). -
Journal of Current Chinese Affairs
3/2006 Data Supplement PR China Hong Kong SAR Macau SAR Taiwan CHINA aktuell Journal of Current Chinese Affairs Data Supplement People’s Republic of China, Hong Kong SAR, Macau SAR, Taiwan ISSN 0943-7533 All information given here is derived from generally accessible sources. Publisher/Distributor: Institute of Asian Affairs Rothenbaumchaussee 32 20148 Hamburg Germany Phone: (0 40) 42 88 74-0 Fax:(040)4107945 Contributors: Uwe Kotzel Dr. Liu Jen-Kai Christine Reinking Dr. Günter Schucher Dr. Margot Schüller Contents The Main National Leadership of the PRC LIU JEN-KAI 3 The Main Provincial Leadership of the PRC LIU JEN-KAI 22 Data on Changes in PRC Main Leadership LIU JEN-KAI 27 PRC Agreements with Foreign Countries LIU JEN-KAI 30 PRC Laws and Regulations LIU JEN-KAI 34 Hong Kong SAR Political Data LIU JEN-KAI 36 Macau SAR Political Data LIU JEN-KAI 39 Taiwan Political Data LIU JEN-KAI 41 Bibliography of Articles on the PRC, Hong Kong SAR, Macau SAR, and on Taiwan UWE KOTZEL / LIU JEN-KAI / CHRISTINE REINKING / GÜNTER SCHUCHER 43 CHINA aktuell Data Supplement - 3 - 3/2006 Dep.Dir.: CHINESE COMMUNIST Li Jianhua 03/07 PARTY Li Zhiyong 05/07 The Main National Ouyang Song 05/08 Shen Yueyue (f) CCa 03/01 Leadership of the Sun Xiaoqun 00/08 Wang Dongming 02/10 CCP CC General Secretary Zhang Bolin (exec.) 98/03 PRC Hu Jintao 02/11 Zhao Hongzhu (exec.) 00/10 Zhao Zongnai 00/10 Liu Jen-Kai POLITBURO Sec.-Gen.: Li Zhiyong 01/03 Standing Committee Members Propaganda (Publicity) Department Hu Jintao 92/10 Dir.: Liu Yunshan PBm CCSm 02/10 Huang Ju 02/11 -
Portfolio Investment Opportunities in China Democratic Revolution in China, Was Launched There
Morgan Stanley Smith Barney Investment Strategy The Great Wall of China In c. 220 BC, under Qin Shihuangdi (first emperor of the Qin dynasty), sections of earlier fortifications were joined together to form a united system to repel invasions from the north. Construction of the Great Wall continued for more than 16 centuries, up to the Ming dynasty (1368–1644), National Emblem of China creating the world's largest defense structure. Source: About.com, travelchinaguide.com. The design of the national emblem of the People's Republic of China shows Tiananmen under the light of five stars, and is framed with ears of grain and a cogwheel. Tiananmen is the symbol of modern China because the May 4th Movement of 1919, which marked the beginning of the new- Portfolio Investment Opportunities in China democratic revolution in China, was launched there. The meaning of the word David M. Darst, CFA Tiananmen is “Gate of Heavenly Succession.” On the emblem, the cogwheel and the ears of grain represent the working June 2011 class and the peasantry, respectively, and the five stars symbolize the solidarity of the various nationalities of China. The Han nationality makes up 92 percent of China’s total population, while the remaining eight percent are represented by over 50 nationalities, including: Mongol, Hui, Tibetan, Uygur, Miao, Yi, Zhuang, Bouyei, Korean, Manchu, Kazak, and Dai. Source: About.com, travelchinaguide.com. Please refer to important information, disclosures, and qualifications at the end of this material. Morgan Stanley Smith Barney Investment Strategy Table of Contents The Chinese Dynasties Section 1 Background Page 3 Length of Period Dynasty (or period) Extent of Period (Years) Section 2 Issues for Consideration Page 65 Xia c. -
Also by Jung Chang
Also by Jung Chang Empress Dowager Cixi: The Concubine Who Launched Modern China Mao: The Unknown Story (with Jon Halliday) Wild Swans: Three Daughters of China THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A. KNOPF Copyright © 2019 by Globalflair Ltd. All rights reserved. Published in the United States by Alfred A. Knopf, a division of Penguin Random House LLC, New York. Originally published in hardcover in Great Britain by Jonathan Cape, an imprint of Vintage, a division of Penguin Random House Ltd., London, in 2019. www.aaknopf.com Knopf, Borzoi Books, and the colophon are registered trademarks of Penguin Random House LLC. Library of Congress Control Number: 2019943880 ISBN 9780451493507 (hardcover) ISBN 9780451493514 (ebook) ISBN 9780525657828 (open market) Ebook ISBN 9780451493514 Cover images: (The Soong sisters) Historic Collection / Alamy; (fabric) Chakkrit Wannapong / Alamy Cover design by Chip Kidd v5.4 a To my mother Contents Cover Also by Jung Chang Title Page Copyright Dedication List of Illustrations Map of China Introduction Part I: The Road to the Republic (1866–1911) 1 The Rise of the Father of China 2 Soong Charlie: A Methodist Preacher and a Secret Revolutionary Part II: The Sisters and Sun Yat-sen (1912–1925) 3 Ei-ling: A ‘Mighty Smart’ Young Lady 4 China Embarks on Democracy 5 The Marriages of Ei-ling and Ching-ling 6 To Become Mme Sun 7 ‘I wish to follow the example of my friend Lenin’ Part III: The Sisters and Chiang Kai-shek (1926–1936) 8 Shanghai Ladies 9 May-ling Meets the Generalissimo 10 Married to a Beleaguered -
6 Pilgrimage and Hui Muslim Identity in the Republican Era
6 Pilgrimage and Hui Muslim Identity in the Republican Era Yuan-lin Tsai Abstract Pilgrimage (hajj) is the fifth pillar of Islam and the most important symbol of unity of the Muslim ‘Community’ (‘Ummah’). When pan- Islamism and Chinese nationalism met in the early twentieth century, it is interesting to see how the Chinese pilgrims, and the Chinese Muslims as a whole, understood and responded to the Islamic revivalist call to the unity of the Community and the Chinese nationalist voice to build a new nation-state. This chapter explores the relationships between these two forces by researching original official documents, news reports, memoirs, and other biographical materials regarding the Hui Muslims’ pilgrimage experience. It concludes that Hui Muslim pilgrims’ choice is not an either/or question, but a mixture of pan-Islamism and Hui patriotism. Keywords: pilgrimage, Mecca, Hui, Uighur, pan-Islamism, Wahhabi Introduction Islam in China has not yet been a well-explored field despite some ground- breaking books and articles that have been published in Chinese, Japanese, and various Western languages during the last two decades. The scholars in this field have usually made their own efforts in an isolated fashion and have not integrated into the academic communities of either Islamic studies or Chinese studies. This is also true for the studies of the Chinese Muslims’ pilgrimage (hajj). In the two most comprehensive historical works on the pilgrimage – Peters’ The Hajj: The Muslim Pilgrimage to Mecca and the Holy Places (1994) and Wolfe’s One Thousand Roads to Mecca: Ten Centuries of Travelers Writing about the Muslim Pilgrimage (1997) – there is no mention of the Chinese Muslims’ pilgrimage journey.