The Legendary Emperors
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Tomb Number 5 Shang Title Ssu #] Applied to "Mothers of Heirs," And
Tomb Number 5 Shang title Ssu #] applied to "mothers of heirs," and that the original meaning of Ssu g~] was close in meaning to ssu ifjg] , \\?A. , "heir," "to inherit," and thus not very different in dynastic conno tations from the Shang surname Tzu ( 3- ,~Q3- ). Virginia Kane indicated in her verbal introduction that, since her art-historical reasons for dating M5 to Period IV were well- covered in her paper, she would mention again only her epigraphic arguments. *9. CHANG PING-CH'UAN (Institute of History and Philology, Taipei) ON THE FU HAO INSCRIPTIONS ABSTRACT: Both the paper and the author's presentation. The paper deals with the oracle-bone inscriptions referring to Fu Hao (or Zi), indirectly addressing the question whether this Fu Hao is the same person as the one mentioned in the bronze inscrip tions from M5 at Anyang. The combined researches of Shima Kunio and Yen I-p'ing have already established that all but one of the 262 Fu Zi oracle inscriptions so far known are from Tung Tso-pin's Period I. The only doubtful instance remaining is Jiabian 668, dated by Shima to Tung's Period IV. The main reason for this dating was the shape of the graph used for the character w_u b^- . On Jiabian 668, this graph is rendered as -£ , whereas according to the received opinion it should, in Period I, have been | , or W . Chang Ping-ch'lian, however, had also observed the graph ~% in Period I oracle bones. Therefore he agreed with Hu Houxuan's opinion that Jiabian 668 ought to date from Period I. -
AUSTRO-LIBERTARIAN THEMES in EARLY CONFUCIANISM Roderick T
Journal of Libertarian Studies Volume 17, no. 3 (Summer 2003), pp. 35–62 2003 Ludwig von Mises Institute www.mises.org AUSTRO-LIBERTARIAN THEMES IN EARLY CONFUCIANISM Roderick T. Long* CONFUCIANISM: THE UNKNOWN IDEAL When scholars look for anticipations of classical liberal, Austrian, and libertarian ideas in early Chinese thought, attention usually focuses not on the Confucians, but on the Taoists, particularly on Laozi (Lao- tzu), reputed author of the Taoist classic Daodejing (Tao Te Ching).1 *Associate Professor of Philosophy at Auburn University. A version of this paper was presented at the 8th Austrian Scholars Conference at the Ludwig von Mises Institute, 15–16 March 2002. The author has benefited from com- ments and discussion on that occasion. A note on Chinese names and terms: There are several systems of ro- manization for Chinese names, the two most familiar being Pinyin and, in English-speaking countries, Wade-Giles, with the former now beginning to displace the latter. The two systems are different enough that terms in one system are often unrecognizable in the other. In two instances, in addition to the Wade-Giles and Pinyin transliteration, names are commonly Latinized: Confucius and Mencius. Throughout this essay I employ Pinyin. For the reader’s convenience, I also give the Wade-Giles equivalent (when it differs from the Pinyin) and the Latin in parentheses at the first occurrence of each term in text and footnotes. Terms in quotations and names of published articles and books are left as is, with the equivalents in parenthesis as appropriate. An appendix of transliterations is offered at the end of the article. -
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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. -
Is Shuma the Chinese Analog of Soma/Haoma? a Study of Early Contacts Between Indo-Iranians and Chinese
SINO-PLATONIC PAPERS Number 216 October, 2011 Is Shuma the Chinese Analog of Soma/Haoma? A Study of Early Contacts between Indo-Iranians and Chinese by ZHANG He 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. -
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). -
The Zhuan Xupeople Were the Founders of Sanxingdui Culture and Earliest Inhabitants of South Asia
E-Leader Bangkok 2018 The Zhuan XuPeople were the Founders of Sanxingdui Culture and Earliest Inhabitants of South Asia Soleilmavis Liu, Author, Board Member and Peace Sponsor Yantai, Shangdong, China Shanhaijing (Classic of Mountains and Seas) records many ancient groups of people (or tribes) in Neolithic China. The five biggest were: Zhuan Xu, Di Jun, Huang Di, Yan Di and Shao Hao.However, the Zhuan Xu People seemed to have disappeared when the Yellow and Chang-jiang river valleys developed into advanced Neolithic cultures. Where had the Zhuan Xu People gone? Abstract: Shanhaijing (Classic of Mountains and Seas) records many ancient groups of people in Neolithic China. The five biggest were: Zhuan Xu, Di Jun, Huang Di, Yan Di and Shao Hao. These were not only the names of individuals, but also the names of groups who regarded them as common male ancestors. These groups used to live in the Pamirs Plateau, later spread to other places of China and built their unique ancient cultures during the Neolithic Age. Shanhaijing reveals Zhuan Xu’s offspring lived near the Tibetan Plateau in their early time. They were the first who entered the Tibetan Plateau, but almost perished due to the great environment changes, later moved to the south. Some of them entered the Sichuan Basin and became the founders of Sanxingdui Culture. Some of them even moved to the south of the Tibetan Plateau, living near the sea. Modern archaeological discoveries have revealed the authenticity of Shanhaijing ’s records. Keywords: Shanhaijing; Neolithic China, Zhuan Xu, Sanxingdui, Ancient Chinese Civilization Introduction Shanhaijing (Classic of Mountains and Seas) records many ancient groups of people in Neolithic China. -
The Old Master
INTRODUCTION Four main characteristics distinguish this book from other translations of Laozi. First, the base of my translation is the oldest existing edition of Laozi. It was excavated in 1973 from a tomb located in Mawangdui, the city of Changsha, Hunan Province of China, and is usually referred to as Text A of the Mawangdui Laozi because it is the older of the two texts of Laozi unearthed from it.1 Two facts prove that the text was written before 202 bce, when the first emperor of the Han dynasty began to rule over the entire China: it does not follow the naming taboo of the Han dynasty;2 its handwriting style is close to the seal script that was prevalent in the Qin dynasty (221–206 bce). Second, I have incorporated the recent archaeological discovery of Laozi-related documents, disentombed in 1993 in Jishan District’s tomb complex in the village of Guodian, near the city of Jingmen, Hubei Province of China. These documents include three bundles of bamboo slips written in the Chu script and contain passages related to the extant Laozi.3 Third, I have made extensive use of old commentaries on Laozi to provide the most comprehensive interpretations possible of each passage. Finally, I have examined myriad Chinese classic texts that are closely associated with the formation of Laozi, such as Zhuangzi, Lüshi Chunqiu (Spring and Autumn Annals of Mr. Lü), Han Feizi, and Huainanzi, to understand the intellectual and historical context of Laozi’s ideas. In addition to these characteristics, this book introduces several new interpretations of Laozi. -
Parte I €“ Dilema éTico Y Virtud
Virtud y consecuencia en la literatura histórica y filosófica pre-Han y Han: el dilema ético en la filosofía y sociedad china César Guarde Paz ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
The Analects of Confucius
The analecTs of confucius An Online Teaching Translation 2015 (Version 2.21) R. Eno © 2003, 2012, 2015 Robert Eno This online translation is made freely available for use in not for profit educational settings and for personal use. For other purposes, apart from fair use, copyright is not waived. Open access to this translation is provided, without charge, at http://hdl.handle.net/2022/23420 Also available as open access translations of the Four Books Mencius: An Online Teaching Translation http://hdl.handle.net/2022/23421 Mencius: Translation, Notes, and Commentary http://hdl.handle.net/2022/23423 The Great Learning and The Doctrine of the Mean: An Online Teaching Translation http://hdl.handle.net/2022/23422 The Great Learning and The Doctrine of the Mean: Translation, Notes, and Commentary http://hdl.handle.net/2022/23424 CONTENTS INTRODUCTION i MAPS x BOOK I 1 BOOK II 5 BOOK III 9 BOOK IV 14 BOOK V 18 BOOK VI 24 BOOK VII 30 BOOK VIII 36 BOOK IX 40 BOOK X 46 BOOK XI 52 BOOK XII 59 BOOK XIII 66 BOOK XIV 73 BOOK XV 82 BOOK XVI 89 BOOK XVII 94 BOOK XVIII 100 BOOK XIX 104 BOOK XX 109 Appendix 1: Major Disciples 112 Appendix 2: Glossary 116 Appendix 3: Analysis of Book VIII 122 Appendix 4: Manuscript Evidence 131 About the title page The title page illustration reproduces a leaf from a medieval hand copy of the Analects, dated 890 CE, recovered from an archaeological dig at Dunhuang, in the Western desert regions of China. The manuscript has been determined to be a school boy’s hand copy, complete with errors, and it reproduces not only the text (which appears in large characters), but also an early commentary (small, double-column characters). -
Official Colours of Chinese Regimes: a Panchronic Philological Study with Historical Accounts of China
TRAMES, 2012, 16(66/61), 3, 237–285 OFFICIAL COLOURS OF CHINESE REGIMES: A PANCHRONIC PHILOLOGICAL STUDY WITH HISTORICAL ACCOUNTS OF CHINA Jingyi Gao Institute of the Estonian Language, University of Tartu, and Tallinn University Abstract. The paper reports a panchronic philological study on the official colours of Chinese regimes. The historical accounts of the Chinese regimes are introduced. The official colours are summarised with philological references of archaic texts. Remarkably, it has been suggested that the official colours of the most ancient regimes should be the three primitive colours: (1) white-yellow, (2) black-grue yellow, and (3) red-yellow, instead of the simple colours. There were inconsistent historical records on the official colours of the most ancient regimes because the composite colour categories had been split. It has solved the historical problem with the linguistic theory of composite colour categories. Besides, it is concluded how the official colours were determined: At first, the official colour might be naturally determined according to the substance of the ruling population. There might be three groups of people in the Far East. (1) The developed hunter gatherers with livestock preferred the white-yellow colour of milk. (2) The farmers preferred the red-yellow colour of sun and fire. (3) The herders preferred the black-grue-yellow colour of water bodies. Later, after the Han-Chinese consolidation, the official colour could be politically determined according to the main property of the five elements in Sino-metaphysics. The red colour has been predominate in China for many reasons. Keywords: colour symbolism, official colours, national colours, five elements, philology, Chinese history, Chinese language, etymology, basic colour terms DOI: 10.3176/tr.2012.3.03 1. -
The Rituals of Zhou in East Asian History
STATECRAFT AND CLASSICAL LEARNING: THE RITUALS OF ZHOU IN EAST ASIAN HISTORY Edited by Benjamin A. Elman and Martin Kern CHAPTER FOUR CENTERING THE REALM: WANG MANG, THE ZHOULI, AND EARLY CHINESE STATECRAFT Michael Puett, Harvard University In this chapter I address a basic problem: why would a text like the Rituals of Zhou (Zhouli !"), which purports to describe the adminis- trative structure of the Western Zhou ! dynasty (ca. 1050–771 BCE), come to be employed by Wang Mang #$ (45 BCE–23 CE) and, later, Wang Anshi #%& (1021–1086) in projects of strong state cen- tralization? Answering this question for the case of Wang Mang, how- ever, is no easy task. In contrast to what we have later for Wang Anshi, there are almost no sources to help us understand precisely how Wang Mang used, appropriated, and presented the Zhouli. We are told in the History of the [Western] Han (Hanshu '() that Wang Mang em- ployed the Zhouli, but we possess no commentaries on the text by ei- ther Wang Mang or one of his associates. In fact, we have no full commentary until Zheng Xuan )* (127–200 CE), who was far re- moved from the events of Wang Mang’s time and was concerned with different issues. Even the statements in the Hanshu about the uses of the Zhouli— referred to as the Offices of Zhou (Zhouguan !+) by Wang Mang— are brief. We are told that Wang Mang changed the ritual system of the time to follow that of the Zhouguan,1 that he used the Zhouguan for the taxation system,2 and that he used the Zhouguan, along with the “The Regulations of the King” (“Wangzhi” #,) chapter of the Records of Ritual (Liji "-), to organize state offices.3 I propose to tackle this problem in a way that is admittedly highly speculative. -
Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism
Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism Kevin Buckelew 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 Kevin Buckelew All rights reserved Abstract Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism Kevin Buckelew This dissertation explores how Chan Buddhists made the unprecedented claim to a level of religious authority on par with the historical Buddha Śākyamuni and, in the process, invented what it means to be a buddha in China. This claim helped propel the Chan tradition to dominance of elite monastic Buddhism during the Song dynasty (960–1279), licensed an outpouring of Chan literature treated as equivalent to scripture, and changed the way Chinese Buddhists understood their own capacity for religious authority in relation to the historical Buddha and the Indian homeland of Buddhism. But the claim itself was fraught with complication. After all, according to canonical Buddhist scriptures, the Buddha was easily recognizable by the “marks of the great man” that adorned his body, while the same could not be said for Chan masters in the Song. What, then, distinguished Chan masters from everyone else? What authorized their elite status and granted them the authority of buddhas? According to what normative ideals did Chan aspirants pursue liberation, and by what standards did Chan masters evaluate their students to determine who was worthy of admission into an elite Chan lineage? How, in short, could one recognize a buddha in Song-dynasty China? The Chan tradition never answered this question once and for all; instead, the question broadly animated Chan rituals, institutional norms, literary practices, and visual cultures.