Duke University Dissertation Template
Total Page:16
File Type:pdf, Size:1020Kb
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 -
Download Article
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. -
Image – Narration
Shane McCausland Intermediary Moments: Framing and Scrolling Devices across Painting, Print and Film in China’s Visual Narratives As an historian of the arts of dynastic China, it is refreshing to be addressing schol- ars of the ‘old world’ of prehistory and classical archaeology and up to contempo- rary times, and to be in the final panel not because this paper deals with one of the West’s Others but because it investigates visual storytelling in artistic formats across the latter half of the historical period that began in China around 1500 BCE. This essay is concerned with how social meaning and identity are shaped through the materiality of pictorial artworks and also with some disciplinary questions about topics like mediality. Mindful of present concerns, I explore the mechanisms by which visual narratives were framed and developed in light of the changing media in use in this cultural context, as well as the intelligibility and coherence of these visual narrative devices. This conference called forth the type of thematic research, ranging widely across received divisions of time and culture and engaged in by an intergenerational cross-section of professionals, that the collective field of art history and archaeology actually needs and I commend the organizers for that.1 Still, concerning the wider framework for investigation here, there is a conundrum. Researchers are by nature wary of narratives and claims to legitimacy founded on the historical cultures em- bedded in the modern nation-states. At the same time, they must take seriously these cultural formations especially where the agency of the past in the present may be quite different from that of our European condition. -
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. -
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. -
The Costume in the Earliest Chinese Hand Scroll
Vol. 6, No. 1 Asian Social Science The Costume in the Earliest Chinese Hand Scroll Yue Hu Fashion Art Design Institute, Donghua University Shanghai, 200051, China Fashion College, Shanghai University of Engineering Science Shanghai, 201620, China E-mail: [email protected] Abstract The earliest Chinese hand scroll extant painting is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, which is now often considered to be a Tang Dynasty copy of the original. By compared with correlated literatures and images, the typical skill and styles in which the earliest Chinese figure painters of Jin Dynasty (AD 265-420) depicting costumes is opened out, as well as the typical costume patterns and styles of man, woman and children. Keywords: Costume, Hand scroll, ‘Nushi zhen’, Gu Kaizhi In South Qi Dynasty (AD 479-502) of Southern Dynasties, Xie He said: “No ancient painting is exquisite until Wei Xie.” in his <Commentaries on Ancient Paintings>. The ancient paintings Xie mentioned were the Chinese handscroll paintings of figure illustrations, and Wei was famous in Western Jin Dynasty (AD 265-317). So the mature style of Chinese ancient handscroll painting should appear from then on. Unfortunately, there was no Wei’s painting in existence, even copies. The earliest painting we can see nowadays is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, who was a top painter of the Eastern Jin Dynasty (AD 317-420), and ever learned painting from Xie. Upon that, this article will study the representation of garment and accessories of the figures in the painting all-sided. -
F1914.53 Documentation Work Sheet
Freer Gallery of Art Completed: 31 August 2007 F1914.53 Updated: 06 May 2009 (format/bibliography) Trad. attrib. to: Gu Kaizhi 顧愷之 (ca. 345–406) Title: Nymph of the Luo River 《洛神圖》 Luoshen tu Dynasty/Date: Southern Song dynasty, mid-12th to mid-13th century Format: Handscroll Medium: Ink and color on silk Dimensions: 24.2 x 310.9 cm (9-1/2 x 122-3/8 in) Credit line: Gift of Charles Lang Freer Accession no.: F1914.53 Provenance: John C. Ferguson (1866–1945) Ex-collection Duanfang 端方 (1861–1911) Literary subject: Illustration of the rhapsody, or prose-poem (fu 賦), Luoshen fu 洛神賦 (The Nymph of the Luo River), by Cao Zhi 曹植 (192–232).1 The original poem contains 168 lines, while the current painting only illustrates the text starting at about line 111. Judging from this and comparison with other recorded and extant versions of the composition, it is apparent that a little more than half the painting is missing from the front of the scroll, and probably one scene from the rear as well.2 Outside label slip: Duanfang 端方 (1861–1911) 1 Freer Gallery of Art Completed: 31 August 2007 F1914.53 Updated: 06 May 2009 (format/bibliography) Six characters, running script; plus seven characters, smaller running script 顧虎頭《洛 神圖》。希世之珍,匋齋題。 The Nymph of the Luo River, by Gu Hutou [Gu Kaizhi]. A rare treasure of the world; written by Taozhai [Duanfang]. Front mounting silk: Yellow silk brocade with phoenix-and-cloud motif. With signed inside label. Two (2) collector seals. Dimensions: 24.0 x 11.1 cm Inside label slip: Liang Qingbiao 梁清標 (1620–1691) Ten characters, standard script. -
The Problem of Identifying Mudan 牡丹and the Tree Peony in Early
Asian Medicine 5 (2009) 108–145 brill.nl/asme The Problem of Identifying Mudan 牡丹 and the Tree Peony in Early China Teruyuki Kubo Abstract The tree peony is a flowering plant found in China, and well-known in Britain. Its root cortex is often used in Chinese traditional prescriptions, such as Dahuang mudan tang, Liuwei dihuang wan, and Jiawei shaoyao san. In contemporary Chinese, the tree peony is called ‘mudan’, and although its beauty was largely ignored until the Kaiyuan era (713–41 CE), a drug of the same name is mentioned in medical texts of the Eastern Han period (25–220 CE). The early authori- tative materia medica, Xinxiu bencao (659 CE), also describes a plant called ‘mudan’, but it is different from the tree peony in form. Curiously, although the tree peony is not considered to be native to Japan, it is described as a specialty plant in the early Japanese gazetteer, Izumonokuni Fudoki (733 CE). This study demonstrates that in early texts mudan’‘ referred to a different plant from the tree peony, and that ‘mudan’ had two remarkable aliases, ‘bailiangjin’ in China and ‘yamatachihana’ in Japan. Today, both aliases are used to refer to Ardisia species. Furthermore, I will demonstrate that the Xinxiu bencao’s description of the mudan closely matches that of the Ardisia, especially the A. japonica species. My investigations therefore suggest that early prescriptions may have used the Ardisia species, not the tree peony. This raises further questions: when and how did the tree peony come to replace the Ardisia? This paper presents the most likely progression of this transition by tracing the expansion of cultivation of mudan for ornamental purposes. -
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. -
Seeing with the Mind's Eye: the Eastern Jin Discourse of Visualization and Imagination Author(S): TIAN XIAOFEI Source: Asia Major , 2005, THIRD SERIES, Vol
Seeing with the Mind's Eye: The Eastern Jin Discourse of Visualization and Imagination Author(s): TIAN XIAOFEI Source: Asia Major , 2005, THIRD SERIES, Vol. 18, No. 2 (2005), pp. 67-102 Published by: Academia Sinica Stable URL: http://www.jstor.com/stable/41649906 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Academia Sinica is collaborating with JSTOR to digitize, preserve and extend access to Asia Major This content downloaded from 206.253.207.235 on Mon, 13 Jul 2020 17:58:56 UTC All use subject to https://about.jstor.org/terms TIAN XIAOFEI Seeing with the Mind's Eye: The Eastern Jin Discourse of Visualization and Imagination This with with paper the thephysical physical world, explores or more world, specifically, a series with or more landscape, of acts dur- specifically, of the mind with in landscape, its interaction dur- ing the intellectually coherent hundred-year period coinciding with the dynasty known as the Eastern Jin (317-420). Chinese landscape poetry and landscape paintings first flourished in the Six Dynasties. Landscape was an essential element in the so-called "poetry of arcane discourse" ( xuanyan shi 3CHHÍ) of the fourth century, a poetry drawing heavily upon the vocabulary and concerns of the Daoist philosophy embodied in Laozi and ZJiuangzi as well as upon Buddhist doctrine; the earliest known record of landscape painting also dates to the Eastern Jin.1 How was landscape perceived by the Eastern Jin elite, and how was this unique mode of perception informed by a complex nexus of contemporary cultural forces? These are the questions to be dealt with in this paper. -
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. -
Art As History: Calligraphy and Painting As
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. List of Illustrations Illustrations are indexed according to three categories: Sculpture and Reliefs; Calligraphy; and Painting and Graphic Illustrations. These categories are further subdivided by Archaeological and Temple Sites and then by Artist. sculpture and reliefs archaeological and temple sites Binglingsi, Yongjing, Gansu province. Buddha from Cave 169, dated 420. Sculpture and wall painting. 123 Liu Sheng, tomb of, 2nd century bce. Mancheng, Hebei province. Censer in the Form of a Cosmic Mountain. Bronze with gold. Hebei Provincial Museum. 71 Longmen, Luoyang, Henan province Plinth of circumambulating monks, Kanjing Si, early 7th century. Limestone. 225 Seated Buddha from Guyang Cave, ca. 500. Limestone. 223 Seated Buddha with attendants, 680. View of the main wall in Wanfodong. 157 Vairocana Buddha, Fengxian Si, dated 675. Limestone. 153 Longxing Monastery, Northern Qi, 6th century. Qingzhou, Shandong province. Śākyamuni Buddha. Stone with traces of gilt and polychrome pigments. Qingzhou Municipal Museum, Shandong. 85 Loulan, Xinjiang province. Manuscript, early 4th century. Ink on paper. 27 Qinshihuangdi, tomb of. Xi’an, Shaanxi province. Qin dynasty, 3rd century bce. General. Terracotta. Museum of Terracotta Warriors and Horses. 125 Ruruta in the Austral Isles, Polynesia. The Fractal God, A’a, before 1821. Wood. The British Museum. 33 Tianlongshan, Taiyuan, Shanxi province. Buddha, 8th century. West niche of Cave 16. Stone. 159 Wanfo Si, Chengdu, Sichuan province Buddha, dated 529. Stone. Sichuan Provincial Museum. 145 Buddha, dated 537. Stone.