The Translation of the Titles of Scriptures Is Only Given If They Are Not Listed in the Bibliography
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Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Rostislav Berezkin Baojuan Publishing By
Rostislav Berezkin Baojuan publishing by Shanghai and Ningbo publishers (1911-1940) and its connection with the expansion and changes of the genre Abstract In the period between 1911 and 1940, a considerable number of baojuan (precious scrolls), the texts with primarily religious contents originally intended for oral presentation, was printed in Shanghai and nearby cities. Baojuan were often printed with the use of modern print technologies: lithographic and typeset press. The lithographic and typeset publishers specializing in baojuan printing appeared at that time. These publishers also were engaged in collecting and editing the baojuan texts as well as in retailing their print production. Looking at several cases of baojuan publishing, this paper explores the special features of this print production, especially in connection with the new trends in the work of publishers and the ways of consumption of baojuan editions. Due to the paucity of materials, the paper makes use mainly of the information in the original editions of baojuan which the author studied in collections of baojuan editions in several countries. 1 Introduction In the period between 1911 and 1940 several publishers in Shanghai and other cities of the Lower Yangtze region published numerous editions of baojuan (ਮ, precious scrolls). Baojuan are texts with primarily religious content originally intended for oral presentation. Baojuan is an old literary form that formed approximately in the 13 th -14 th centuries but still flourished at the beginning of the 20 th century. Scholars divide the history of baojuan into three periods. In the first one (ca. 13 th -15 th centuries), they propagated Buddhist doctrines. -
Divination, Fate Manipulation and Protective Knowledge in And
Divination, Fate Manipulation and Protective Knowledge In and Around ” The Wedding of the Duke of Zhou and Peach Blossom Girl ” , a Popular Myth of Late Imperial China Vincent Durand-Dastès To cite this version: Vincent Durand-Dastès. Divination, Fate Manipulation and Protective Knowledge In and Around ” The Wedding of the Duke of Zhou and Peach Blossom Girl ” , a Popular Myth of Late Imperial China. Michael Lackner. Coping with the future: theories and practices of divination in East Asia, Brill, 2017, Sinica Leidensia, 9789004346536. hal-01695407 HAL Id: hal-01695407 https://hal.archives-ouvertes.fr/hal-01695407 Submitted on 29 Jan 2018 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. Divination, Fate Manipulation and Protective Knowledge In and Around “The Wedding of the Duke of Zhou and Peach Blossom Girl”, a Popular Myth of Late Imperial China Vincent Durand-Dastès The story of the wedding of Peach blossom girl is a rather peculiar comic and magic narrative of late imperial China, first appearing at the end of the Yuan dynasty and afterwards continually retold and restaged. Its protagonist is a divine fortuneteller named Zhougong 周 公 (literally, “the Duke of Zhou”) who goes down into the world to open a soothsayer shop. -
Luminary Buddhist Nuns in Contemporary Taiwan: a Quiet Feminist Movement
Journal of Buddhist Ethics ISSN 1076-9005 Luminary Buddhist Nuns in Contemporary Taiwan: A Quiet Feminist Movement Wei-yi Cheng Department of the Study of Religions School of African and Asian Studies [email protected] ABSTRACT: Luminary order is a well-respected Buddhist nuns’ order in Taiwan. In this essay, I will examine the phenomenon of Luminary nuns from three aspects: symbol, structure, and education. Through the examination of the three aspects, I will show why the phenomenon of Luminary nuns might be seen as a feminist movement. Although an active agent in many aspects, I will also show that the success of Luminary nuns has its roots in the social, historical, and economic conditions in Taiwan. One notable feature of Buddhism in contemporary Taiwan is the large number of nuns. It is estimated that between 70 and 75 percent of the Buddhist monastic members are nuns; many of them have a higher education background.1 Many Buddhist nuns hold high esteem in the society, such as the artist and founder of Hua Fan University, bhikṣuṇī Hiu Wan, and the founder of one of the world’s biggest Buddhist organizations, bhikṣuṇī Cheng-yen.2 While bhikṣuṇī Hiu Wan and bhikṣuṇī Cheng-yen are known as highly-achieved individuals, the nuns of the Luminary nunnery are known collectively as a group. During my fieldwork in Taiwan in 2001, many informants mentioned Luminary nuns to me as group of nuns well-trained in Buddhist doctrines, practices, and precepts. The term Lumi- nary nuns seems to be equivalent to the image of knowledgeable and disciplined Buddhist nuns. -
Origin Narratives: Reading and Reverence in Late-Ming China
Origin Narratives: Reading and Reverence in Late-Ming China Noga Ganany Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Noga Ganany All rights reserved ABSTRACT Origin Narratives: Reading and Reverence in Late Ming China Noga Ganany In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”). -
The Dialectics of Virtuosity: Dance in the People's Republic of China
The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor. -
Handbook of Chinese Mythology TITLES in ABC-CLIO’S Handbooks of World Mythology
Handbook of Chinese Mythology TITLES IN ABC-CLIO’s Handbooks of World Mythology Handbook of Arab Mythology, Hasan El-Shamy Handbook of Celtic Mythology, Joseph Falaky Nagy Handbook of Classical Mythology, William Hansen Handbook of Egyptian Mythology, Geraldine Pinch Handbook of Hindu Mythology, George Williams Handbook of Inca Mythology, Catherine Allen Handbook of Japanese Mythology, Michael Ashkenazi Handbook of Native American Mythology, Dawn Bastian and Judy Mitchell Handbook of Norse Mythology, John Lindow Handbook of Polynesian Mythology, Robert D. Craig HANDBOOKS OF WORLD MYTHOLOGY Handbook of Chinese Mythology Lihui Yang and Deming An, with Jessica Anderson Turner Santa Barbara, California • Denver, Colorado • Oxford, England Copyright © 2005 by Lihui Yang and Deming An All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Yang, Lihui. Handbook of Chinese mythology / Lihui Yang and Deming An, with Jessica Anderson Turner. p. cm. — (World mythology) Includes bibliographical references and index. ISBN 1-57607-806-X (hardcover : alk. paper) — ISBN 1-57607-807-8 (eBook) 1. Mythology, Chinese—Handbooks, Manuals, etc. I. An, Deming. II. Title. III. Series. BL1825.Y355 2005 299.5’1113—dc22 2005013851 This book is also available on the World Wide Web as an eBook. Visit abc-clio.com for details. ABC-CLIO, Inc. 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116–1911 This book is printed on acid-free paper. -
The Social Setting of Chinese Religious
SINO-PLATONIC PAPERS Number 310 March, 2021 The Social Setting of Chinese Religious Storytelling in the Late Sixteenth – Early Seventeenth Centuries: A Passage from the Novel Pacification of the Demons’ Revolt (1620) by Rostislav Berezkin Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out for peer review, and extensive editorial suggestions for revision may be offered. -
Proquest Dissertations
TO ENTERTAIN AND RENEW: OPERAS, PUPPET PLAYS AND RITUAL IN SOUTH CHINA by Tuen Wai Mary Yeung Hons Dip, Lingnan University, H.K., 1990 M.A., The University of Lancaster, U.K.,1993 M.A., The University of British Columbia, Canada, 1999 A THESIS SUBIMTTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 @ Tuen Wai Mary Yeung, 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-31964-2 Our file Notre reference ISBN: 978-0-494-31964-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
From Imperial Metaphor to Rebellious Deities: the History and Modern State of Western Studies of Chinese Popular Religion
SINO-PLATONIC PAPERS Number 243 December, 2013 From Imperial Metaphor to Rebellious Deities: The History and Modern State of Western Studies of Chinese Popular Religion by Rostislav Berezkin Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
Return of the Cosmic Mother
Revelation of the Cosmic Mother Sacred Book “Origin” 8 CultureRenewal The Original Tradition of the Universal Cosmic Mother Cosmic META Religion 3M Project Maitreya/Messiah Mahdi Mother & Sons Universal Cosmic Order We are part of society Society is part of the earth The earth is part of the universe The universe is part of the Eternal Light The Eternal Light is part of Absolute Nothingness (Cosmic Mother) Last upgrading 23.09.2018 Whole World Publications Origin 8 (Book of Books) ISBN: 978-90-70525 E-Book Whole World Publications (Book8 of the Sacred Book „Origin“, cosmo-political initiative for the Renewal of religion & culture, society, science, economy, ethics, health care, gender relationship, youth and the Earth, to begin with Europe) Departure is the integral (wo)man: spiritual, psychological and physical, in harmony with the Cosmos, nature and society Mission „Healing the Planet“ 2018©Copyright H.P.J.M. (Han Marie) Stiekema All rights reserved. Book “Origin” is for non-profit purposes only. It may not be used for any personal profit or commercial gain. No part of our program may be published in any form, by print, photo print, microfilm, electronically or any other means without written permission of the author. Independent, non-commercial, non-denominational. 1. Edition 2018 Educational book in English language E-Book Exclusive to “Whole World Publications” The Netherlands Everything in this Book originated thanks to the Threefold Cosmic Realization (1977 „Revelation“) Written down by SermeS (Also called "Laughing Buddha" or “Green Man”)* The one who has been BEYOND the BEYOND of Space and Time. This Sacred Book is not an ordinary book. -
Classifying a Local Cult in Hunan: Daoist Ritual, Ideology, and Efficacy of the “General Who Quashed Bandits” *
Classifying a Local Cult in Hunan: Daoist Ritual, Ideology, and Efficacy of the “General Who Quashed Bandits” * Mark Meulenbeld ** Abstract A common impediment for recognizing the close and widespread correlation between Daoism and local cults is the diminished presence of Daoist priests throughout contemporary China. Although some regions still boast impressive numbers of village priests, changing demographics and economic prospects have decimated the presence of Daoists overall. Fieldworkers without a strong interest in Daoism commonly jump to the conclusion that Daoism is not a significant factor in the religious landscape they study. This unfortunate assumption leads to a distorted understanding vis-à-vis cults of worship for local gods (often classified as “popular religion”; 民間信仰 minjian xinyang), because it takes the impoverished status of modern Chinese cult activities as representative for the fundamental nature of local cults more generally speaking. The degree to which this is indeed a distortion becomes clear once one pays specific attention to the way in which many local cults have come into being in close interaction specifically with Daoist priests, Daoist ritual, Daoist ideology, and so on, even as Daoists may not currently * I would like to thank Philip Clart and Vincent Goossaert for inviting me to the conference Daoism and Local Cults: Rethinking the Paradigms, held in Leipzig on 29 November–1 December 2018. I would also like to thank the participants of the conference, who offered valuable feedback on my paper. Furthermore, I am grateful to Chen Ling 陳玲, who revised one of the key passages from the materials I translated. Finally, I want to thank Patrice Fava for convincing me to take seriously the many statues of seemingly minor local gods on the altars of central Hunan.