2000–01 Excavation of the Shang Bronze Foundry Site at Xiaomintun Southeast in Anyang
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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. -
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 ). -
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. -
View the Herbs We Stock, Many Of
BASTYR CENTER FOR NATURAL HEALTH Chinese and Ayurvedic Herbal Dispensary Ayurvedic Herb List Retail price Retail price Ayurvedic Herb Name Ayurvedic Herb Name per gram per gram Amalaki $0.15 Tagar/Valerian $0.15 Arjuna $0.15 Talisadi $0.30 Ashoka $0.15 Trikatu $0.15 Ashwagandha $0.15 Triphala $0.15 Avipattikar $0.15 Triphala Guggulu $0.50 Bacopa $0.15 Tulsi $0.15 Bala $0.15 Vacha $0.15 Bibhitaki $0.15 Vidanga $0.15 Bilva $0.15 Vidari Kanda $0.15 Brahmi/Gotu Kola $0.15 Yashtimadhu/Licorice root $0.15 Bhumyamalaki $0.15 Yogaraj Guggulu $0.50 Calamus Root $0.15 Chandana/Red Sandalwood $0.30 Chitrak $0.15 Dashamula $0.15 Gokshura $0.15 Guduchi $0.15 Haridra/Turmeric $0.15 Haritaki $0.15 Hingvastak Churna $0.15 Kaishore Guggulu $0.50 Kalmegh $0.15 Kapikacchu $0.15 Kumari $0.15 Kutaja $0.15 Kutki $0.30 Manjishtha $0.15 Musta $0.15 Neem $0.15 Pippali $0.15 Punarnava $0.15 Punarnava Guggulu $0.50 Sat isapgul $0.15 Shankpushpi $0.15 Shardunika $0.15 Shatavari $0.15 Shilajit $0.50 Shunti/Ginger Root $0.15 Sitopaladi $0.30 Prices subject to change without notice Updated: 10/2018 BASTYR CENTER FOR NATURAL HEALTH Chinese and Ayurvedic Herbal Dispensary Chinese Raw Herb List Retail price Retail price Chinese Raw Herb Name Chinese Raw Herb Name per gram per gram Ai Ye $0.05 Cao Guo $0.10 Ba Ji Tian $0.10 Cao Wu (Zhi) $0.05 Ba Yue Zha $0.05 Ce Bai Ye $0.05 Bai Bian Dou $0.05 Chai Hu $0.15 Bai Bu $0.05 Chan Tui $0.25 Bai Dou Kou $0.10 Che Qian Zi $0.05 Bai Fu Zi (Zhi) $0.10 Chen Pi $0.05 Bai Guo (Granule) $0.27 Chi Shao Yao $0.10 Bai He $0.10 Chi Shi -
CEPS: an Open Access MATLAB Graphical User Interface (GUI) for the Analysis of Complexity and Entropy in Physiological Signals
entropy Article CEPS: An Open Access MATLAB Graphical User Interface (GUI) for the Analysis of Complexity and Entropy in Physiological Signals David Mayor 1,* , Deepak Panday 2, Hari Kala Kandel 3, Tony Steffert 4,5 and Duncan Banks 5 1 School of Health and Social Work, University of Hertfordshire, Hatfield AL10 9AB, UK 2 School of Engineering and Computer Science, University of Hertfordshire, Hatfield AL10 9AB, UK; [email protected] 3 Department of Computing, Goldsmiths College, University of London, New Cross, London SE14 6NW, UK; [email protected] 4 MindSpire, Napier House, 14-16 Mount Ephraim Rd, Tunbridge Wells TN1 1EE, UK; [email protected] 5 School of Life, Health and Chemical Sciences, Walton Hall, The Open University, Milton Keynes MK7 6AA, UK; [email protected] * Correspondence: [email protected] Abstract: Background: We developed CEPS as an open access MATLAB® GUI (graphical user interface) for the analysis of Complexity and Entropy in Physiological Signals (CEPS), and demonstrate its use with an example data set that shows the effects of paced breathing (PB) on variability of heart, pulse and respiration rates. CEPS is also sufficiently adaptable to be used for other time series physiological data such as EEG (electroencephalography), postural sway or temperature measurements. Methods: Data were collected from a convenience sample of nine healthy adults in a pilot for a larger study investigating the effects on vagal tone of breathing paced at various Citation: Mayor, D.; Panday, D.; different rates, part of a development programme for a home training stress reduction system. Results: Kandel, H.K.; Steffert, T.; Banks, D. -
T H E a Rt a N D a Rc H a E O L O Gy O F a N C I E Nt C H I
china cover_correct2pgs 7/23/04 2:15 PM Page 1 T h e A r t a n d A rc h a e o l o g y o f A n c i e nt C h i n a A T E A C H E R ’ S G U I D E The Art and Archaeology of Ancient China A T E A C H ER’S GUI DE PROJECT DIRECTOR Carson Herrington WRITER Elizabeth Benskin PROJECT ASSISTANT Kristina Giasi EDITOR Gail Spilsbury DESIGNER Kimberly Glyder ILLUSTRATOR Ranjani Venkatesh CALLIGRAPHER John Wang TEACHER CONSULTANTS Toni Conklin, Bancroft Elementary School, Washington, D.C. Ann R. Erickson, Art Resource Teacher and Curriculum Developer, Fairfax County Public Schools, Virginia Krista Forsgren, Director, Windows on Asia, Atlanta, Georgia Christina Hanawalt, Art Teacher, Westfield High School, Fairfax County Public Schools, Virginia The maps on pages 4, 7, 10, 12, 16, and 18 are courtesy of the Minneapolis Institute of Arts. The map on page 106 is courtesy of Maps.com. Special thanks go to Jan Stuart and Joseph Chang, associate curators of Chinese art at the Freer and Sackler galleries, and to Paul Jett, the museum’s head of Conservation and Scientific Research, for their advice and assistance. Thanks also go to Michael Wilpers, Performing Arts Programmer, and to Christine Lee and Larry Hyman for their suggestions and contributions. This publication was made possible by a grant from the Freeman Foundation. The CD-ROM included with this publication was created in collaboration with Fairfax County Public Schools. It was made possible, in part, with in- kind support from Kaidan Inc. -
On the War Culture of Rewarding, Management and Sacrificing in the Ancient China Zhou Dynasty Based on the War Inscriptions
ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 11, No. 8, 2015, pp. 60-66 www.cscanada.net DOI:10.3968/7434 www.cscanada.org On the War Culture of Rewarding, Management and Sacrificing in the Ancient China Zhou Dynasty Based on the War Inscriptions DENG Fei[a],* [a]Institute of Chinese Language and Documents, Southwest University, Chongqing, China. INTRODUCTION *Corresponding author. As we know, the early Chinese considered that two things Supported by National Funds for Social Science “Research on the Time were the most important for one country. One was Category in the Oracle-Bone Inscriptions in Ancient Chinese Shang sacrificing to the gods and ancestors. One was fighting. Dynasty” (13XYY017); Chinese Special Postdoctoral Funds “Research Fighting continued the political activity. The bronze on the Time Category in the Oracle-Bone Inscriptions in Ancient inscriptions in the Zhou dynasty are of rich language Chinese Shang Dynasty” (2014T70841); Chinese Postdoctoral Funds materials about war, contrast to the oracle-bone “Research on the Cognitive Issues of the Time Category in the Oracle- Bone Inscriptions in Ancient Chinese Shang Dynasty” (2013M531921); inscriptions in the Shang dynasty, these language Chongqing city’s Postdoctoral Funds “ Research on the Different materials are systematical and complete, so they have Expressions of the Time Category in the Oracle-Bone Inscriptions in provided so many materials to us to investigate all aspects Ancient Chinese Shang Dynasty” (XM201359). of war culture. This paper will discuss the war culture of rewarding, management and sacrificing. Received 19 April 2015; accepted 2 June 2015 Published online 26 August 2015 1. -
Not for Citation Reflections on Literary and Devotional Aspects of Western
Draft – Not for Citation Reflections on Literary and Devotional Aspects of Western Zhou Memorial Inscriptions Robert Eno 伊若泊 Symposium on Ancient Chinese Bronzes, University of Chicago, 2010 This essay poses some very general questions concerning Western Zhou bronze inscriptions as a corpus that seem to me problems that are of intrinsic interest, inspired by one vessel in particular in the Shouyang Studio collection, and mixing a few other recently recovered inscriptions with ones I’m more familiar with in reflecting on the issues I want to raise. I should begin with a confession that it has been some years since I dealt with bronze inscriptions as part of a research agenda, and I cannot claim close familiarity with a wide range of those that have come to light in recent years, though working on this paper has helped me to know better what it is that I do not know. I have titled it a reflection because it is not the fruit of extensive and ongoing research, but my hope is that it raises issues of interest that are also ones we have the tools to explore. The issues that concern me here are these: First, given the highly formulaic and restricted nature of most bronze texts, and the fact that significant portions of many seem to be redactions of texts originally created on other materials, wood or bamboo, how far can we identify in these texts elements of literary creativity and what might be construed as personal expression arising from the occasion of creating memorial inscriptions in bronze? Second, acknowledging that the context for the