Lunar Mansions in the Early Han (C
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Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions with Yin and Yang Message
Journalism and Mass Communication, January 2017, Vol. 7, No. 1, 53-62 doi: 10.17265/2160-6579/2017.01.006 D DAVID PUBLISHING Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions With Yin and Yang Message Shu Hwa Lin, C J Duarte University of Hawaii at Manoa, Honolulu HI, USA The design themes of three Qing dynasty imperial dragon robes from the University of Hawaii at Manoa Costume Collection act as carriers of the Chinese yin-yang philosophy. The information shared by these imperial dragon robes are discussed through a cultural and technological analysis of the symbolic motifs and fabric structures of these garments to reveal the cultural and social impact of yin-yang on Qing imperial costume design. Keywords: Dragon robe, Yin and Yang, imperial/court costume Introduction Since the Qing dynasty (1644-1911), the yin-yang philosophy has been utilized in Chinese court dress (Lin, 2015). The influence of yin-yang on Chinese costume design can be observed in the surviving artifacts of the Qing dynasty (Cheng, 2008; Camman, 1952). The University of Hawaii at Manoa (UHM) Costume Collection (UHMCC) houses three kosse robes (i.e., tapestry) and one embroidery dragon robes from the Qing dynasty which provide representations of the yin-yang philosophy through the motifs and color patterns of its design. These important robes were selected to exhibit during special days such as year of dragon, UHM 100 years, and UHMCC 50 year’s anniversary. There are four categories of court dress: gunfu, chaofu, jifu, changfu (Zhoa, 1989; Zhou & Gao, 1988). Three dragon robes from the UHM Costume Collection are classified as jifu, or semi-formal court robe (Vollmer, 1977a). -
Yellow Dragon and Yellow Corn Girl Some Colors in Korean and Navaho Mythology
1 Yellow Dragon and Yellow Corn Girl Some Colors in Korean and Navaho Mythology Abstract: Some Korean and Navaho myths indicate the significance of the color yellow in building a strong foundation for society. For a new order such as a kingdom, a monastery and religion, even a new way of life, a yellow dragon may move to the center, but also—to spur growth of order in 12th c. and Kwanggaet’o myths—the dragon may meet his blue counterpart. Interaction between the two colors intensifies as a yellow and a blue dragon entwine in the shamanist myth of the Three Chesok Gods. Sometimes other entities bring the two colors into contact. In the very First World of the Navaho, yellow corn forms when the Blue and Yellow Clouds meet. When the Navaho finally reach the surface of this Fifth World, Turquoise Boy enters the great turquoise stone that will placed in the sky to produce yellow sunbeams for growing plants. Guarding the center of the myongdang system used in placements of important cities, houses, deceased family members stands the yellow dragon, from earliest formations of feng shui in China a representation of imperial power. The other four creatures of myongdang protect the periphery of the yellow center: blue or green dragon to the east, red phoenix south, white tiger west, black turtle north. A most full delineation of these guardians unfolds in Seo Dae-sook’s Tongnae version of the House God myth as Songjo chooses an auspicious spot to build his first house on earth: “On the east . -
Ancient Chinese Constellations Junjun Xu Beijing University of Aeronautics and Astronautics Room 424, Apartment 20, No
The Role of Astronomy in Society and Culture Proceedings IAU Symposium No. 260, 2009 c International Astronomical Union 2011 D. Valls-Gabaud & A. Boksenberg, eds. doi:10.1017/S174392131100319X Ancient Chinese constellations Junjun Xu Beijing University of Aeronautics and Astronautics Room 424, Apartment 20, No. 37 Xueyuan Street, Beijing, China email: [email protected] Abstract. China, a country with a long history and a specific culture, has also a long and specific astronomy. Ancient Chinese astronomers observed the stars, named and distributed them into constellations in a very specific way, which is quite different from the current one. Around the Zodiac, stars are divided into four big regions corresponding with the four orientations, and each is related to a totem, either the Azure Dragon, the Vermilion Bird, the White Tiger or the Murky Warrior. We present a general pattern of the ancient Chinese constellations, including the four totems, their stars and their names. Keywords. China, constellations, mansions 1. Introduction Three enclosures, four symbols and twenty-eight mansions characterise the ancient Chinese constellations. This division of the starry sky began to appear in China before the Zhou and Qin dynasties. The three enclosures refer to three areas around the North celestial pole: the Purple Forbidden enclosure, the Supreme Palace enclosure and the Heavenly Market enclosure. The four symbols are distributed near the ecliptic Zodiac and the lunar orbit and are represented by four totems: the Azure Dragon of the East, the Vermillion Bird of the South, the White Tiger of the West and the Black Tortoise of the North. Every symbol was divided into seven sections which were know as mansions. -
TỨ ĐẠI Vs. NGŨ HÀNH Nguyễn Quốc Bảo
LẠI ĂN TỤC NÓI PHÉT ĐŨA VÀ NGUYÊN LÍ NHỊ NGUYÊN PHẦN II: TỨ ĐẠI vs. NGŨ HÀNH Nguyễn Quốc Bảo Thou hast as chiding a nativity As fire, water, earth and heaven can make To herald thee from the womb PERICLES, Shakespeare, Pericles Prince of Tyre. Trong bài Ăn Tục Nói Phét Đũa và Nguyên lí Nhị Nguyên Phần I, có đoạn viết: … Hệ Từ Thượng Truyện viết nguồn gốc của Vũ Trụ: Vô Cực sinh Thái Cực, Thái Cực sinh Luỡng Nghi, Lưỡng Nghi sinh Tứ Tượng Ngũ Hành, Ngũ Hành sinh Bát Quái, Bát Quái là gốc của 64 quẻ Kinh dịch. … Thành thử Âm Dương đi 2 lối khác nhau, Tam Tài Ngũ Hành (Dương, với Số lẻ) và Tứ Tượng Bát Quái (Âm, với Số chẵn). … Âm Dương chuyển hóa theo chu kỳ Ngũ Hành Kim Mộc Thủy Hỏa Thổ, để quy định những quy luật tự nhiên trong xã hội loài người. Trời cao đất rộng, năm qua tháng lại, thời tiết lúc nhập Xuân ấm áp, nên rảnh rang lại xin chư vị bằng hữu cho phép nổi cơn ATNP, để mạn bàn thêm một chuyện vớ vẩn: từ văn hóa Đũa, chủng Bách Việt đã nhận thức lý luận nhị nguyên và vượt đến nguyên lí vĩnh cửu Âm Dương, rồi Âm Dương sinh Tứ Tượng Ngũ Hành. Trong khi đó, Văn hoá Phương Tây trong tiến trình phát triển, nhận thức ra khái niệm Tứ Đại (và Ngũ Đại). Nay xin so sánh Tứ Đại Hoả Địa Khí Thuỷ vs. Ngũ Hành Kim Thủy Mộc Hỏa Thổ, thử tìm hiểu xem hai Văn hóa Đông Tây trong lãnh vực này có điểm trùng hợp hay tương xứng, để có thể đi tới kết luận có một Chân Lý Toàn Năng, giống như đã thảo luận trước đây với Đũa Nguyên lí Nhị Nguyên (Xin xem Đũa phần I). -
Dragon Magazine #248
DRAGONS Features The Missing Dragons Richard Lloyd A classic article returns with three new dragons for the AD&D® game. Departments 26 56 Wyrms of the North Ed Greenwood The evil woman Morna Auguth is now The Moor Building a Better Dragon Dragon. Paul Fraser Teaching an old dragon new tricks 74Arcane Lore is as easy as perusing this menu. Robert S. Mullin For priestly 34 dragons ... Dragon Dweomers III. Dragon’s Bestiary 80 Gregory W. Detwiler These Crystal Confusion creatures are the distant Dragon-Kin. Holly Ingraham Everythingand we mean everything 88 Dungeon Mastery youll ever need to know about gems. Rob Daviau If youre stumped for an adventure idea, find one In the News. 40 92Contest Winners Thomas S. Roberts The winners are revealed in Ecology of a Spell The Dragon of Vstaive Peak Design Contest. Ed Stark Columns Theres no exagerration when Vore Lekiniskiy THE WYRMS TURN .............. 4 is called a mountain of a dragon. D-MAIL ....................... 6 50 FORUM ........................ 10 SAGE ADVICE ................... 18 OUT OF CHARACTER ............. 24 Fiction BOOKWYRMs ................... 70 The Quest for Steel CONVENTION CALENDAR .......... 98 Ben Bova DRAGONMIRTH ............... 100 Orion must help a young king find both ROLEPLAYING REVIEWS .......... 104 a weapon and his own courage. KNIGHTS OF THE DINNER TABLE ... 114 TSR PREVIEWS ................. 116 62 PROFILES ..................... 120 Staff Publisher Wendy Noritake Executive Editor Pierce Watters Production Manager John Dunn Editor Dave Gross Art Director Larry Smith Associate Editor Chris Perkins Editorial Assistant Jesse Decker Advertising Sales Manager Bob Henning Advertising Traffic Manager Judy Smitha On the Cover Fred Fields blends fantasy with science fiction in this month's anniversary cover. -
The Symbol of the Dragon and the Tiger in Chinese and Japanese Art
THE RULERS OF SKY AND EARTH THE SYMBOL OF THE DRAGON AND THE TIGER IN CHINESE AND JAPANESE ART Grade Level This lesson is written for grades 9-12; it can be used in a World History or an Art class. Purpose To look at how symbols of power, the dragon and the tiger, are portrayed in the art of China and Japan; students will then compare and contrast this with the Western conception and portrayal of the dragon. Concepts In the Western world, dragons are portrayed as evil, fire-breathing creatures that must be subdued and killed by heroes. The Western dragon is seen as essentially negative, a symbol of evil and a sign of the devil. In Asia, the dragon is a positive force, a symbol of peace and harmony. Chinese and Japanese dragons are considered to be benevolent and auspicious. They breathe water rather than fire and have the power to bring rain, an important attribute in an agricultural society. The Chinese dragon is a supernatural, mythical creature that inhabits the sky and the waters and is connected with clouds, rains, and fertility on one hand and the emperor and his venerated ancestors on the other. For the last 4,000 years, the dragon has intertwined itself into all phases of China's social and political life as well as every form of art and literature. The dragon is the most important symbol of power, and the symbol of the emperor; no other animal has occupied such an important place in the thought and art of the Chinese people. -
Reef Fish Fishing Under the Gulf of Mexico (GOM) Reef Fish Fishery Management Plan (RFFMP) and Proposed Amendment 23
_______________________________________________________ Endangered Species Act - Section 7 Consultation Biological Opinion Action Agency: National Oceanic and Atmospheric Administration (NOAA), National Marine Fisheries Service (NMFS), Southeast Regional Office (SERO), Sustainable Fisheries Division (F/SER2). Activity: The Continued Authorization of Reef Fish Fishing under the Gulf of Mexico (GOM) Reef Fish Fishery Management Plan (RFFMP) and Proposed Amendment 23. Consulting Agency: NO NMFS, SERO, Protected Resources Division (F/SER3). Approved by: ‘ RofE. Crabtree, Ph.D., Regional Administrator. Date Issued: I / Contents: 1.0 Consultation History 2 2.0 Description of the Proposed Action 4 3.0 Status of the Species 21 4.0 Environmental Baseline 45 5.0 Effects of the Proposed Action 54 6.0 Cumulative Effects 86 7.0 Jeopardy Analysis 87 8.0 Conclusion 93 9.0 Incidental Take Statement 93 10.0 Conservation Recommendations 96 11.0 Reinitiation Statement 97 12.0 Literature Cited 98 Introduction Section 7(a)(2) of the Endangered Species Act (ESA) of 1973, as amended (16 U.S.C. § 1531 et seq.), requires each federal agency to ensure any action they authorize, fund, or carry out is not likely to jeopardize the continued existence of any endangered or threatened species or to result in the destruction or adverse modification of any designated critical habitat of such species. When the action of a federal agency may affect a species protected under the ESA, that agency is required to consult with either the NMFS or the U.S. Fish and Wildlife Service, depending on the protected species that may be affected. Formal consultations on most listed marine species are conducted between the action agency and NMFS. -
Download the Marketing Manual (PDF)
Marketing Materials Table of Contents Page Welcome to the Children of Hangzhou: Connecting with China tour! Introduction 1 Contact Information for Boston Children’s Museum 2 PR, Marketing and Sponsorship Requirements What You Should Track: Reporting back to Boston before, during and after the exhibit. 3 PR & Marketing Strategies to Consider 4 Guiding Visitor Expectations: please share with your Visitor Services Division! Public Relations: Press Releases and Photography Choices Marketing: Suggested Angles, TV Promos and Website Trade Marking and Production Credit Requirements 7 Graphic Design: Use of Images 8 Approval Process 9 Sponsorship Topics: Local and National 10 Appendices Where to buy Children of Hangzhou: Connecting with China materials for Appendix A activities and workshops, or for Retail Sale in your Museum Shop PR, Marketing & Online Styleguide Contents Appendix B Introduction Welcome to the national tour of Children of Hangzhou: Connecting with China! Through hosting the Children of Hangzhou: Connecting with China exhibit, your visitors will discover that Chinese life today mixes ancient traditions with modern lifestyles, and that life in China is both similar to and different from life in North America. The young Chinese in the exhibit will be a bridge to learning about China and building cross-cultural understanding. The exhibit features original artwork created to present a unique Chinese aesthetic that delivers an immediate and unmistakable impression: You are in China. The exhibition is organized into several components: Bus Stop, where visitors “enter” Hangzhou, China and meet the four children; Wu Lin Apartment, where visitors meet Weicheng and his family in their apartment, and learn to cook a birthday meal for Weicheng’s grandmother; Yellow Dragon Theater, where visitors meet Qianyun, who is studying Chinese opera, and can join in a performance of White Snake Lady or play traditional instruments; Bao Chu Ta Middle School, where visitors meet Gangzheng and follow him through a day at school. -
Daily Life for the Common People of China, 1850 to 1950
Daily Life for the Common People of China, 1850 to 1950 Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access China Studies published for the institute for chinese studies, university of oxford Edited by Micah Muscolino (University of Oxford) volume 39 The titles published in this series are listed at brill.com/chs Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Daily Life for the Common People of China, 1850 to 1950 Understanding Chaoben Culture By Ronald Suleski leiden | boston Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access This is an open access title distributed under the terms of the prevailing cc-by-nc License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org. Cover Image: Chaoben Covers. Photo by author. Library of Congress Cataloging-in-Publication Data Names: Suleski, Ronald Stanley, author. Title: Daily life for the common people of China, 1850 to 1950 : understanding Chaoben culture / By Ronald Suleski. -
Part 660—Fisheries Off West Coast States and in the West- Ern Pacific
Pt. 660 50 CFR Ch. VI (10–1–05 Edition) PART 660—FISHERIES OFF WEST 660.48 Gear restrictions. 660.49 At-sea observer coverage. COAST STATES AND IN THE WEST- 660.50 Harvest limitation program. ERN PACIFIC 660.51 Monk seal protective measures. 660.52 Monk seal emergency protective Subpart A—General measures. 660.53 Framework procedures. Sec. 660.54 Five-year review. 660.1 Purpose and scope. 660.2 Relation to other laws. Subpart E—Bottomfish And Seamount 660.3 Reporting and recordkeeping. Groundfish Fisheries Subpart B—Western Pacific Fisheries— 660.61 Permits. General 660.62 Prohibitions. 660.63 Notification. 660.11 Purpose and scope. 660.64 Gear restrictions. 660.12 Definitions. 660.65 At-sea observer coverage. 660.13 Permits and fees. 660.66 Protected species conservation. 660.14 Reporting and recordkeeping. 660.67 Framework for regulatory adjust- 660.15 Prohibitions. ments. 660.16 Vessel identification. 660.68 Fishing moratorium on Hancock Sea- 660.17 Experimental fishing. mount. 660.18 Area restrictions. 660.69 Management subareas. Subpart C—Western Pacific Pelagic Subpart F—Precious Corals Fisheries Fisheries 660.81 Permits. 660.21 Permits. 660.82 Prohibitions. 660.22 Prohibitions. 660.83 Seasons. 660.23 Notifications. 660.84 Quotas. 660.24 Gear identification. 660.85 Closures. 660.25 Vessel monitoring system. 660.86 Size restrictions. 660.26 Longline fishing prohibited area man- 660.87 Area restrictions. agement. 660.88 Gear restrictions. 660.27 Exemptions for longline fishing pro- 660.89 Framework procedures. hibited areas; procedures. 660.28 Conditions for at-sea observer cov- Subpart G—West Coast Groundfish erage. -
Lunar Mansion Names in South-West China
Onoma 51 Journal of the International Council of Onomastic Sciences ISSN: 0078-463X; e-ISSN: 1783-1644 Journal homepage: https://onomajournal.org/ Lunar mansion names in South-West China: An etymological reconstruction of ancestral astronomical designations in Moso, Pumi, and Yi cultures compared with Chinese and Tibetan contexts DOI: 10.34158/ONOMA.51/2016/6 Xu Duoduo National University of Singapore (NUS), Asia Research Institute (ARI), Singapore [email protected] To cite this article: Xu Duoduo. 2016. Lunar mansion names in South-West China: An etymological reconstruction of ancestral astronomical designations in Moso, Pumi, and Yi cultures compared with Chinese and Tibetan contexts. Onoma 51, 113–143. DOI: 10.34158/ONOMA.51/2016/6 To link to this article: https://doi.org/10.34158/ONOMA.51/2016/6 © Onoma and the author. Lunar mansion names in South-West China: An etymological reconstruction of ancestral astronomical designations in Moso, Pumi, and Yi cultures compared with Chinese and Tibetan contexts Abstract: The present study aims at an etymological reconstruction of lunar mansion designations of the Moso, Pumi, and Yi people from South-West China. Those lunar mansions are generally named after animals. A systematic examination on these astronomical names reveals frequent borrowing processes among these cultures, extended to Tibetan and Chinese contexts. Three patterns of direct borrowing of the lunar mansion names can be highlighted in addition to compatible morphological structures in some designation. This comparative research also provides innovative 114 XU DUODUO solutions to several issues still unsolved from the current studies on lunar mansions focused on specific ethnic groups. -
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”).