Major Vessel Types by Use
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Diversity, Knowledge, and Valuation of Plants Used As Fermentation Starters
He et al. Journal of Ethnobiology and Ethnomedicine (2019) 15:20 https://doi.org/10.1186/s13002-019-0299-y RESEARCH Open Access Diversity, knowledge, and valuation of plants used as fermentation starters for traditional glutinous rice wine by Dong communities in Southeast Guizhou, China Jianwu He1,2,3, Ruifei Zhang1,2, Qiyi Lei4, Gongxi Chen3, Kegang Li3, Selena Ahmed5 and Chunlin Long1,2,6* Abstract Background: Beverages prepared by fermenting plants have a long history of use for medicinal, social, and ritualistic purposes around the world. Socio-linguistic groups throughout China have traditionally used plants as fermentation starters (or koji) for brewing traditional rice wine. The objective of this study was to evaluate traditional knowledge, diversity, and values regarding plants used as starters for brewing glutinous rice wine in the Dong communities in the Guizhou Province of China, an area of rich biological and cultural diversity. Methods: Semi-structured interviews were administered for collecting ethnobotanical data on plants used as starters for brewing glutinous rice wine in Dong communities. Field work was carried out in three communities in Guizhou Province from September 2017 to July 2018. A total of 217 informants were interviewed from the villages. Results: A total of 60 plant species were identified to be used as starters for brewing glutinous rice wine, belonging to 58 genera in 36 families. Asteraceae and Rosaceae are the most represented botanical families for use as a fermentation starter for rice wine with 6 species respectively, followed by Lamiaceae (4 species); Asparagaceae, Menispermaceae, and Polygonaceae (3 species respectively); and Lardizabalaceae, Leguminosae, Moraceae, Poaceae, and Rubiaceae (2 species, respectively). -
HUNG LIU: OFFERINGS January 23-March 17, 2013
PRESS RELEASE FOR IMMEDIATE RELEASE Contacts: December 12, 2012 Maysoun Wazwaz Mills College Art Museum, Program Manager 510.430.3340 or [email protected] Mills College Art Museum Announces HUNG LIU: OFFERINGS January 23-March 17, 2013 Oakland, CA—December 12, 2012. The Mills College Art Museum is pleased to present Hung Liu: Offerings a rare opportunity to experience two of the Oakland-based artist’s most significant large- scale installations: Jiu Jin Shan (Old Gold Mountain) (1994) and Tai Cang—Great Granary (2008). Hung Liu: Offerings will be on view from January 23 through March 17, 2013. The opening reception takes place on Wednesday, January 23, 2013 from 6:00–8:00 pm and free shuttle service will be provided from the MacArthur Bart station during the opening. Recognized as America's most important Chinese artist, Hung Liu’s installations have played a central role in her work throughout her career. In Jiu Jin Shan (Old Gold Mountain), over two hundred thousand fortune cookies create a symbolic gold mountain that engulfs a crossroads of railroad tracks running beneath. The junction where the tracks meet serves as both a crossroads and 1 terminus, a visual metaphor of the cultural intersection of East and West. Liu references not only the history of the Chinese laborers who built the railroads to support the West Coast Gold Rush, but also the hope shared among these migrant workers that they could find material prosperity in the new world. The Mills College Art Museum is excited to be the first venue outside of China to present Tai Cang— Great Granary. -
The Second Circular
The 24th World Congress of Philosophy Title: The XXIV World Congress of Philosophy (WCP2018) Date: August 13 (Monday) - August 20 (Monday) 2018 Venue: Peking University, Beijing, P. R. China Official Language: English, French, German, Spanish, Russian, Chinese Congress Website: wcp2018.pku.edu.cn Program: Plenary Sessions, Symposia, Endowed Lectures, 99 Sections for Contributed Papers, Round Tables, Invited Sessions, Society Sessions, Student Sessions and Poster Sessions Organizers: International Federation of Philosophical Societies Peking University CONFUCIUS Host: Chinese Organizing Committee of WCP 2018 Important Dates Paper Submission Deadline February 1, 2018 Proposal Submission Deadline February 1, 2018 Early Registration October 1, 2017 On-line Registration Closing June 30, 2018 On-line Hotel Reservation Closing August 6, 2018 Tour Reservation Closing June 30, 2018 * Papers and proposals may be accepted after that date at the discretion of the organizing committee. LAO TZE The 24th World Congress of Philosophy MENCIUS CHUANG TZE CONTENTS 04 Invitation 10 Organization 17 Program at a Glance 18 Program of the Congress 28 Official Opening Ceremony 28 Social and Cultural Events 28 Call for Papers 30 Call for Proposals WANG BI HUI-NENG 31 Registration 32 Way of Payment 32 Transportation 33 Accommodation 34 Tours Proposals 39 General Information CHU HSI WANG YANG-MING 02 03 The 24th World Congress of Philosophy Invitation WELCOME FROM THE PRESIDENT OF FISP Chinese philosophy represents a long, continuous tradition that has absorbed many elements from other cultures, including India. China has been in contact with the scientific traditions of Europe at least since the time of the Jesuit Matteo Ricci (1552-1610), who resided at the Imperial court in Beijing. -
Ceramic's Influence on Chinese Bronze Development
Ceramic’s Influence on Chinese Bronze Development Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2007 Photos on cover page Jue from late Shang period decorated with Painted clay gang with bird, fish and axe whorl and thunder patterns and taotie design from the Neolithic Yangshao creatures, H: 20.3 cm [34]. culture, H: 47 cm [14]. Flat-based jue from early Shang culture Pou vessel from late Shang period decorated decorated with taotie beasts. This vessel with taotie creatures and thunder patterns, H: is characteristic of the Erligang period, 24.5 cm [34]. H: 14 cm [34]. ii Table of Contents Abstract Approximate timeline 1 Introduction 2 Map of Chinese Provinces 3 Neolithic culture 4 Bronze Development 10 Clay Mold Production at Houma Foundry 15 Coins 16 Mining and Smelting at Tonglushan 18 China’s First Emperor 19 Conclusion 21 References 22 iii The transition from the Neolithic pottery making to the emergence of metalworking around 2000 BC held significant importance for the Chinese metal workers. Chinese techniques sharply contrasted with the Middle Eastern and European bronze development that relied on annealing, cold working and hammering. The bronze alloys were difficult to shape by hammering due to the alloy combination of the natural ores found in China. Furthermore, China had an abundance of clay and loess materials and the Chinese had spent the Neolithic period working with and mastering clay, to the point that it has been said that bronze casting was made possible only because the bronze makers had access to superior ceramic technology. -
Imprints FINAL 15Dec2016.Indd
ls ia er at M ed ht ig yr op C : ss re P ity rs ve ni U se Newest Sources of Western Zhou History: ne hi Inscribed Bronze Vessels, 2000–2010 C he T Edward L. SHAUGHNESSY The University of Chicago In 2002, I published a survey of inscribed bronze vessels of the Western Zhou period that had appeared in the course of the preceding decade. timing was appropriate for at least a couple of reasons. First, the 1990s marked the first flowering of the new Chinese economic expansion; with the dramatic increase in construction activity and with newfound wealth in China came a concomitant rise in the number of ancient bronze vessels taken out of China’s earth. Although much of this excavation was unfor- tunately undertaken by tomb robbers, and the individual bronzes thus lost their archaeological context, nevertheless many of them appeared on the antiques markets and eventually made their way into museums and/or the scholarly press. Second, the decade also witnessed the five-year long Xia- Shang-Zhou Chronology Project (1995–2000). This multidisciplinary inquiry into ancient China’s political chronology was funded by the Chinese government at levels hitherto unimagined for humanistic and social science research, and it resulted in numerous discoveries and publi- cations. The chronology of the Western Zhou period, based to a very large extent on the inscriptions in bronze vessels of the period, was perhaps the most important topic explored by this project. The decade witnessed extensive archaeological excavations at several major Zhou states, as well as the discovery of several fully-dated bronze inscriptions that were the subject of much discussion in the context of the “Xia-Shang-Zhou Chro- nology Project.” 1 The sive archaeologicalThe ten years campaigns, that have severaljust passed of them have unearthing brought several sites and more ceme- exten- teries of heretofore unknown states within the Zhou realm, as well as many, many more bronze vessels from throughout the Western Zhou period, some of them with truly 2startling inscriptions. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
Maria Khayutina • [email protected] the Tombs
Maria Khayutina [email protected] The Tombs of Peng State and Related Questions Paper for the Chicago Bronze Workshop, November 3-7, 2010 (, 1.1.) () The discovery of the Western Zhou period’s Peng State in Heng River Valley in the south of Shanxi Province represents one of the most fascinating archaeological events of the last decade. Ruled by a lineage of Kui (Gui ) surname, Peng, supposedly, was founded by descendants of a group that, to a certain degree, retained autonomy from the Huaxia cultural and political community, dominated by lineages of Zi , Ji and Jiang surnames. Considering Peng’s location right to the south of one of the major Ji states, Jin , and quite close to the eastern residence of Zhou kings, Chengzhou , its case can be very instructive with regard to the construction of the geo-political and cultural space in Early China during the Western Zhou period. Although the publication of the full excavations’ report may take years, some preliminary observations can be made already now based on simplified archaeological reports about the tombs of Peng ruler Cheng and his spouse née Ji of Bi . In the present paper, I briefly introduce the tombs inventory and the inscriptions on the bronzes, and then proceed to discuss the following questions: - How the tombs M1 and M2 at Hengbei can be dated? - What does the equipment of the Hengbei tombs suggest about the cultural roots of Peng? - What can be observed about Peng’s relations to the Gui people and to other Kui/Gui- surnamed lineages? 1. General Information The cemetery of Peng state has been discovered near Hengbei village (Hengshui town, Jiang County, Shanxi ). -
Title <Translated Article> Western Zhou History in the Collective
<Translated Article> Western Zhou History in the Collective Title Memory of the People of the Western Zhou: An Interpretation of the Inscription of the "Lai pan" Author(s) MATSUI, Yoshinori Citation 東洋史研究 (2008), 66(4): 712-664 Issue Date 2008-03 URL https://doi.org/10.14989/141873 Right Type Journal Article Textversion publisher Kyoto University 712 WESTERN ZHOU HISTORY IN THE COLLECTIVE MEMORY OF THE PEOPLE OF THE WESTERN ZHOU: AN INTERPRETATION OF THE INSCRIPTION OF THE "LAI PAN" MATSUI Y oshinori Introduction On January 19, 2003, twenty-seven bronze pieces were excavated from a hoard at Yangjiacun (Meixian county, Baoji city, Shaanxi province).l All the bronzes, which include twelve ding ~, nine Ii rn, two fanghu 11 if., one pan ~, one he :ii\'t, one yi [ffi, and one yu k, have inscriptions. Among them, the bronzes labeled "Forty-second-year Lai ding" ~ ~ (of which there are two pieces), "Forty-third-year Lai ding" (ten pieces), and "Lai pan" ~~ (one piece) have in scriptions that are particularly long for inscriptions from the Western Zhou period and run respectively to 281, 316 and 372 characters in length. The inscription of the "Lai pan," containing 372 characters, is divided into two parts, the first part is narrated from Lai's point of view but employs the third-person voice, opening with the phrase, "Lai said." The second part records an appointment (ceming :IlJt frJ) ceremony that opens, "The King said." The very exceptional first part records the service of generations of Lai's ancestors to successive Zhou Kings. The inscription mentions eleven former kings, King Wen X3:., King Wu TIk3:., King Cheng JIlG3:., King Kang *3:., King Zhao BR3:., King Mu ~~3:., King Gong *3:., King Yi i~3:., King Xiao ~(~)3:., King Yi 1J$(~)3:., King Li Jj1U (J~)3:. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour. -
ENGLISH CHINESE CHARACTER CHINESE PINYIN REMARKS Zero
www.yiwu-market-guide.com Jack Yang Mob. +86 159 2428 6660 CHINESE ENGLISH CHINESE PINYIN REMARKS CHARACTER zero 零/0 ling often writen as 0 one 一/1 yi often writen as 1 two 二/2 er often writen as 2 three 三/3 san often writen as 3 four 四/4 si often writen as 4 five 五/5 wu often writen as 5 six 六/6 liu often writen as 6 seven 七/7 qi often writen as 7 eight 八/8 ba often writen as 8 nine 九/9 jiu often writen as 9 ten 十/10 shi often writen as 10 eleven 十一/11 shi yi shi er = 12, shi san=13, shi si= 14… twenty 二十/20 er shi er shi yi=21, er shi er = 22, er shi san=23… thirty 三十/30 san shi hundred 百/100 yi bai yi bai yi shi=110, yi bai yi shi er=112, yi bai wu shi wu = 155 one hundred and one 一百零一/101 yi bai ling yi thousand 千/1000 yi qian dollar 块 kuai "kuai" in money means "dollar" mao 毛 mao "mao" in money means "ten cents" fen 分 fen "fen" in money means " cent" 1.3 Chinese dollar 一块三 yi kuai san 1 "kuai"=10"mao"=100"fen" www.yiwu-market-guide.com Jack Yang Mob. +86 159 2428 6660 www.yiwu-market-guide.com Jack Yang Mob. +86 159 2428 6660 how much is this? 这个多少钱? zhe ge duo shao qian? "zhe ge" means "this" priced at one pack? 是一包的价钱吗? shi yi bao de jia qian ma? "yi bao de jia qian" means "price of 1 pack" how much one pack? 多少钱一包? duo shao qian yi bao? "yi bao" means "1 pack" priced at one dozen? 是一打的价钱吗? shi yi da de jia qian ma? "yi da de jia qian" means "price of 1 dozen" how much one dozen? 多少钱一打? duo shao qian yi da? "yi da" means "1 dozen" priced at one roll? 是一卷的价钱吗? shi yi juan de jia qian ma? "yi juan de jia qian" means "price of 1 roll" -
The Preludes in Chinese Style
The Preludes in Chinese Style: Three Selected Piano Preludes from Ding Shan-de, Chen Ming-zhi and Zhang Shuai to Exemplify the Varieties of Chinese Piano Preludes D.M.A. DOCUMENT Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Jingbei Li, D.M.A. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Steven M. Glaser, Advisor Dr. Arved Ashby Dr. Edward Bak Copyrighted by Jingbei Li, D.M.A 2019 ABSTRACT The piano was first introduced to China in the early part of the twentieth century. Perhaps as a result of this short history, European-derived styles and techniques influenced Chinese composers in developing their own compositional styles for the piano by combining European compositional forms and techniques with Chinese materials and approaches. In this document, my focus is on Chinese piano preludes and their development. Having performed the complete Debussy Preludes Book II on my final doctoral recital, I became interested in comprehensively exploring the genre for it has been utilized by many Chinese composers. This document will take a close look in the way that three modern Chinese composers have adapted their own compositional styles to the genre. Composers Ding Shan-de, Chen Ming-zhi, and Zhang Shuai, while prominent in their homeland, are relatively unknown outside China. The Three Piano Preludes by Ding Shan-de, The Piano Preludes and Fugues by Chen Ming-zhi and The Three Preludes for Piano by Zhang Shuai are three popular works which exhibit Chinese musical idioms and demonstrate the variety of approaches to the genre of the piano prelude bridging the twentieth century. -
2. Environmental Baseline Condition
à E2592 v1 World Bank Loan Project: Public Disclosure Authorized Environmental Assessment For Shandong Confucius & Mencius Public Disclosure Authorized Cultural Heritage Preservation and Development Project (Final) Public Disclosure Authorized EA Agency: Shandong Academy of Environmental Science EA Certificate: State EAC No. 2402 Date of Completion: Jan. 2011 Public Disclosure Authorized Jinan, China P. R à à Preface Confucius, born in the year of 552 BC, is one of the greatest thinkers in the history of humanity, his thought and doctrine addressed the order and nature of morality in the life of human society. Mencius was born 180 years latter than that of Confucius, and succeeded and developed the thought of Confucius. Addressing governing by benevolence, Mencius advocated Confucius’ philosophy and jointly with him established the core of Chinese culture – Confucianism. Confucianism, created by both Confucius and Mencius, started to become the main stream of Chinese culture in Han Dynasty dating back 2000 years. Particularly, after Confucianism was reformed and reinterpreted by the ruler as a political thought, it became the thought of State. Therefore, Confucianism, Buddhism and Daoism had jointly constituted the physical constitution of Chinese traditional culture, and had produced great influence on Asia, Japan and South Korea in particular. Understanding traditional Chinese culture is to a large extent to understand Confucianism and Confucius Culture. Confucius and Mencius culture has a long history and enjoys a high reputation at home and abroad, thus has left over invaluable cultural heritage assets to the people of the whole world. Therefore, it has become the essence of outstanding traditional culture of Chinese civilization.