DOCSLIB.ORG

Abbreviations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abbreviations Abbreviations Baopuzi neipian Ge Hong 葛洪 (283–343), Baopuzi neipian 抱朴 子內篇, comp. Wang Ming 王明. Taibei: Liren shuju, 1981. Bao Tingbo 鮑廷博 (1728–1814), Yanshi jiaxun 顏氏家訓. Shugu tang ying Song ben chongdiao 述古堂影宋 本重雕. Zhibuzu zhai congshu 知不足齋叢書 11. Beihu lu Duan Gonglu 段公路 (fl. 869–871), Beihu lu北 戶錄. In Yingyin Wenyuange siku quanshu 景印文 淵閣四庫全書, Vol. 589. Taibei: Shangwu yinshu- guan, 1983. Bei Qi shu(BQS) Li Baiyao 李百藥 (564–647), comp. Bei Qi shu北 齊書. Beijing: Zhonghua shuju, 1972. Bei shi(BS) Li Yanshou 李延壽 (fl. 620s–650s), comp. Bei shi 北史. Beijing: Zhonghua shuju, 1972. Chen Yinke Chen Yinke 陳寅恪,“Cong shishi lun Qie yun” 從史實論切韻. Lingnan xuebao 嶺南學報 9.2 (1949): 1–18. Cheng Rong Cheng Rong程榮 (fl. late 16 th c.) collated, Yanshi jiaxun 顏氏家訓. Han Wei congshu 漢魏叢書 edi- tion. With Yan Rugui 顏如瓌 1518 preface and Yan Zhibang 顏志邦 1578 preface. Chuxue ji Xu Jian 徐堅 (659–729), comp. Chuxie ji 初學記. Beijing: Zhonghua shuju, 1962. Dien Albert E. Dien, trans. with introduction and notes. Pei Chi shu 45: Biography of Yen Chih-t’ui. Würzburger Sino-Japonica. Bern: Herbert Lang, 1976. Fu Yue 傅鑰(傅太平) (1482–1540), Yanshi jiaxun 顏氏家 訓. Sibu congkan edition. Shanghai Hanfen lou photo-reprint of Fu Yue’s printed edition with Zhang Bi’s 張璧 1524 preface. Gu shi ji Feng Weine 馮惟訥 (1513–1572), comp. Gu shi ji 古詩紀. In Yingyin Wenyuan ge siku quanshu景 印文淵閣四庫全書, Vol. 1379. Taibei: Shangwu yinshuguan, 1983. Open Access. © 2021 Xiaofei Tian, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. https://doi.org/10.1515/9781501503191-003 526 Abbreviations Jin shu Fang Xuanling 房玄齡 (578–648) et al., comp. Jin shu 晉書. Beijing: Zhonghua shuju, 1974. Jiu Tang shu Liu Xu 劉煦 (887–946), comp. Jiu Tang shu 舊唐 書. Beijing: Zhonghua shuju, 1975. Liang shu Yao Cha 姚察 (533–606) and Yao Silian 姚思廉 (557–637), comp. Liang shu 梁書. Beijing: Zhonghua shuju, 1973. Lidai minghua ji Zhang Yanyuan 張彥遠 (815–907), Lidai min- ghua ji 歷代名畫記. Beijing: Renmin meishu chu- banshe, 1963. Lu Qinli Lu Qinli 逯欽⽴, comp. Xian Qin Han Wei Jin nanbeichao shi 先秦漢魏晉南北朝詩. Beijing: Zhonghua shuju, 1983. Lu Wenchao Lu Wenchao 盧文弨 (1717–1796). Yanshi jiaxun 顏氏家訓. Baojing tang jiaoding ben 抱經堂校定 本. Sibu beiyao 四部備要 edition. Shanghai: Zhonghua shuju. Mengzi zhushu Mengzi zhushu 孟子注疏. In Shisanjing zhushu十 三經注疏, compiled by Ruan Yuan 阮元 (1764– 1849). Taibei: Yiwen yinshuguan, 1955. Nan Qi shu Xiao Zixian 蕭子顯 (489–537), comp. Nan Qi shu 南齊書. Beijing: Zhonghua shuju, 1972. Nan shi Li Yanshou 李延壽 (fl. 620s–650s), comp. Nan shi 南史. Beijing: Zhonghua shuju, 1975. Pei xi Guo Zhongshu 郭忠恕 (d. 977), Pei xi 佩觿. In Yingyin Wenyuan ge siku quanshu 景印文淵閣四 庫全書, Vol. 224. Taibei: Shangwu yinshuguan, 1983. Pi Ya Lu Dian 陸佃 (1042–1102), Pi Ya 埤雅. In Ying- yin Wenyuange siku quanshu 景印文淵閣四庫全書, Vol. 222. Taiwan: Shangwu yinshuguan, 1983. Quan Tang wen Quan Tang wen 全唐文. Beijing: Zhonghua shuju, 1996. Ruan Ji The Poetry of Ruan Ji, trans. Stephen Owen, in The Poetry of Ruan Ji and Xi Kang. Boston/Berlin: De Gruyter, 2017. Shi ji Sima Qian 司馬遷 (ca. 145 BCE–ca. 86 BCE). Shi ji 史記. Beijing: Zhonghua shuju, 1975. Abbreviations 527 Shishuo xinyu Liu Yiqing 劉義慶 (403–444), comp., with Liu Xiaobiao’s 劉孝標 (462–521) commentary. Shi- shuo xinyu jianshu 世說新語箋疏, annot. Yu Jiaxi 余嘉錫. Shanghai: Shanghai guji chubanshe, 1993. Shi tong Liu Zhiji 劉知幾 (661–721), Xin Shi tong jiaozhu 新史通校注, annot. Zhao Lüfu 趙呂甫. Sichuan: Chongqing chubanshe, 1990. Song shu Shen Yue 沈約 (441–513), comp. Song shu 宋書. Beijing: Zhonghua shuju, 1974. Sui shu Wei Zheng 魏徵 (580–643) et al., comp. Sui shu 隋書. Beijing: Zhonghua shuju, 1973. Taiping guangji Li Fang 李昉 (925–996) et al., comp. Taiping guangji 太平廣記. Beijing: Zhonghua shuju, 1981. Taiping yulan Li Fang 李昉 (925–996) et al., comp. Taiping yu- lan 太平御覽. Taibei: Shangwu yinshuguan, 1975. Teng Ssu-yü Teng Ssu-yü, trans. with an introduction and notes, Family Instructions for the Yen Clan. Leiden: Brill, 1968. Tian 2018 Tian, Xiaofei.“Yu Xin’s‘Memory Palace’: Writing Trauma and Violence in Early Medieval Chinese Aulic Poetry.” In Memory in Medieval Chinese Text, Ritual, and Community, ed. Wendy Swartz and Robert Ford Campany. Leiden: Brill, 2018; 124–157. Wang Liqi Wang Liqi 王利器, annot. Yanshi jiaxun jijie (zengbu ben) 顏氏家訓集解增補本. Beijing: Zhonghua shuju, 1993. Wenjing mifu lun Henjō-Kongō 遍照金剛[Kūkai 空海] (774–835). Wenjing mifu lun huijiao huikao 文鏡秘府論彙校 彙考, annot. Wang Liqi 盧盛江. Beijing: Zhong- hua shuju, 2006. Wen xuan Xiao Tong 蕭統 (501–531), comp. Wen xuan文 選. Shanghai: Shanghai guji chubanshe, 1986. Wenyuan yinghua Li Fang 李昉 (925–996) et al., comp. Wenyuan yinghua 文苑英華. Beijing: Zhonghua shuju, 1966. 528 Abbreviations Wulei xianggan zhi Dongpo xiansheng wulei xianggan zhi 東坡先生物 類相感志, attri. Su Shi 蘇軾 (1037–1101) / Zan- ning贊寧 (919–1001). Siku quanshu cunmu cong- shu zibu 四庫全書存目叢書子部 116. Ji’nan: Qi Lu shushe, 1997. Xin Tang shu Ouyang Xiu 歐陽修 (1007–1072) and Song Qi 宋祁 (998–1061), comp. Xin Tang shu 新唐書. Beijing: Zhonghua shuju, 1975. Xu Jiaxun Dong Zhenggong 董正功 (fl. 11th c.?), Xu Jiaxun 續家訓. Xuxiu siku quanshu 續修四庫全書, Vol. 1122. Shanghai: Shanghai guji chubanshe; 1–40. Yan Kejun Yan Kejun 嚴可均 (1762–1843), comp. Quan shanggu sandai Qin Han sanguo liuchao wen 全上 古三代秦漢三國六朝文. Beijing: Zhonghua shuju, 1987. Note: in all citations from Yan Kejun I give the volume title as divided by dynasty, such as Quan sanguo wen(Complete Three Kingdoms Prose), followed by juan number and page num- ber. Yan Shihui Yan Shihui 嚴式誨 (1890–1976). Yanshi jiaxun顏 氏家訓 (annotated by Zhao Ximing 趙曦明 and Lu Wenchao 盧文弨) with 1930 colophon and collation notes by Yan Shihui. Chengdu: Yanshi xiaoyi jiashu 嚴氏孝義家塾, 1928 first printing. Xuxiu siku quanshu 續修四庫全書, Vol. 1121. Shanghai: Shanghai guji chubanshe; 597–707. Yinchuang zalu Yinchuang zalu 吟窗雜錄. Beijing: Zhonghua shu- ju, 1997. Yiwen leiju Ouyang Xun 歐陽詢 (557–641) et al, comp. Yi- wen leiju 藝文類聚. Shanghai: Shanghai guji chu- banshe, 1999. Yongcheng jixian lu Du Guangting 杜光庭 (850–933), Yongcheng jixian lu 墉城集仙錄. Siku quanshu cunmu congshu zibu 四庫全書存目叢書子部 258. Ji’nan: Qi Lu shushe, 1997. Yuanhun zhi Yan Zhitui 顏之推, Yuanhun zhi jiaozhu 冤魂志校 注. Collated and annot. by Luo Guowei 羅國威. Chengdu: Ba Shu shushe, 2001. Abbreviations 529 Zhang Aitang Zhang Aitang 張藹堂, trans. and annot. Yan Zhi- tui quanji yizhu 顏之推全集譯注. Ji’nan: Qi Lu shushe, 2004. Zhou Fagao Zhou Fagao 周法高, annot. Yanshi jiaxun huizhu 顏氏家訓彙注. 4 volumes. Taibei: Academia Sini- ca, 1960. Zhou shu Linghu Defen 令狐德棻 (582–666) et al., comp. Zhou shu 周書. Beijing: Zhonghua shuju, 1971. Zizhi tongjian Sima Guang 司馬光 (1019–1086), comp. Zizhi tongjian 資治通鑑. 2 volumes. Beijing: Zhonghua shuju, 1997 (revised from the 1956 edition). .
Load more

Recommended publications
  • Kūnqǔ in Practice: a Case Study
    KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US.
    [Show full text]
  • Orthography of Early Chinese Writing: Evidence from Newly Excavated Manuscripts
    IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS BUDAPEST MONOGRAPHS IN EAST ASIAN STUDIES SERIES EDITOR: IMRE HAMAR IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS DEPARTMENT OF EAST ASIAN STUDIES, EÖTVÖS LORÁND UNIVERSITY BUDAPEST 2006 The present volume was published with the support of the Chiang Ching-kuo Foundation. © Imre Galambos, 2006 ISBN 963 463 811 2 ISSN 1787-7482 Responsible for the edition: Imre Hamar Megjelent a Balassi Kiadó gondozásában (???) A nyomdai munkálatokat (???)a Dabas-Jegyzet Kft. végezte Felelős vezető Marosi Györgyné ügyvezető igazgató CONTENTS Acknowledgements ................................................................................................. vii Introduction ............................................................................................................ 1 CHAPTER ONE FORMER UNDERSTANDINGS ..................................................................................... 11 1.1 Traditional views ........................................................................................... 12 1.1.1 Ganlu Zishu ........................................................................................ 13 1.1.2 Hanjian .............................................................................................. 15 1.2 Modern views ................................................................................................ 20 1.2.1 Noel Barnard .....................................................................................
    [Show full text]
  • Cataloguing Chinese Art in the Middle and Late Imperial Eras
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections.
    [Show full text]
  • Downloaded from Brill.Com10/04/2021 08:34:09AM Via Free Access Bruce Rusk: Old Scripts, New Actors 69
    EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700* Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) On the Space-depiction Techniques of Chinese Traditional Architectural Drawings Peng Peng College of Architecture and Urban-Rural Planning Sichuan Agricultural University Chengdu, China Abstract—Ruled-line painting is the best foundation of Yuan Dynasty, the word “ruled-line painting” has been research on ancient Chinese buildings. From existing ruled-line widely used and accepted as well as become the painting painting works, it can be figured out that ruled-line paintings branch which takes buildings as subjects. In Notes of Nan of the Northern Song Dynasty have had a great breakthrough Village of Tao Zongyi, painting is divided into 13 categories, based on predecessors in the respect of manifestation with among which “ruled-line painting of buildings” ranks the regard to sense of space. A group of experienced painters of eighth as the drawing majoring in building subjects such as ruled-line painting at that time such as Zhang Zeduan, Guo palaces, towers, houses and the like. Meanwhile, in Zhongshu, Yan Wengui and the like know a lot about “subtle Appreciation and Evaluation of Paintings, Tang Hou said: principles” of “Same Proportion as Material Objects” and “When it comes to paintings, we will say that paintings have “Hundreds of Diagonals Gathered to One Point”, whose 12 categories with landscape painting taking the lead and works’ sense of volume, sense of space and sense of stability are universally superior to those of predecessors. Therefore, a ruled-line painting at the bottom.” Moreover, ruled-line form or framework of ancient architectural drawings basically painting is particular about accuracy of buildings’ shape and took shape at that time.
    [Show full text]
  • The Later Han Empire (25-220CE) & Its Northwestern Frontier
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Wai Kit Wicky Tse University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian History Commons, Asian Studies Commons, and the Military History Commons Recommended Citation Tse, Wai Kit Wicky, "Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier" (2012). Publicly Accessible Penn Dissertations. 589. https://repository.upenn.edu/edissertations/589 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/589 For more information, please contact [email protected]. Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Abstract As a frontier region of the Qin-Han (221BCE-220CE) empire, the northwest was a new territory to the Chinese realm. Until the Later Han (25-220CE) times, some portions of the northwestern region had only been part of imperial soil for one hundred years. Its coalescence into the Chinese empire was a product of long-term expansion and conquest, which arguably defined the egionr 's military nature. Furthermore, in the harsh natural environment of the region, only tough people could survive, and unsurprisingly, the region fostered vigorous warriors. Mixed culture and multi-ethnicity featured prominently in this highly militarized frontier society, which contrasted sharply with the imperial center that promoted unified cultural values and stood in the way of a greater degree of transregional integration. As this project shows, it was the northwesterners who went through a process of political peripheralization during the Later Han times played a harbinger role of the disintegration of the empire and eventually led to the breakdown of the early imperial system in Chinese history.
    [Show full text]
  • Preface of Selections of Refined Literature”
    Advances in Social Science, Education and Humanities Research, volume 416 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020) Exploration on the Completion Time of the “Preface of Selections of Refined Literature” Yong Yu The College of Literature and Journalism Sichuan University Chengdu, China Abstract—The opinions on the completion time of the At the end of the "Preface of Selections of Refined "Preface of Selections of Refined Literature" have always been Literature", it describes the beginning year and end year of divergent and inconsistent. To examine its completion time, it the works collected in "Selections of Refined Literature" and is necessary to combine various internal and external factors the total number of volumes, and explains the basis of the such as the preface, the compilation style of "Selections of style order arrangement. Especially, the poems are Refined Literature", the life story of the editor, and the process subdivided into subtypes and sequenced according to the of writing the book. It helps to make clear the long-standing times. Obviously, it is neither possible for the editor to related disputes in the researches on "anthologizing presume the total number of volumes compiled before principles". completion of "Selections of Refined Literature" nor possible Keywords: “Preface of Selections of Refined Literature”, to previously have an idea of subdividing poems into Xiao Tong, completion time subtypes. If the "Preface of Selections of Refined Literature" was written in the compilation process but before completion I. INTRODUCTION of "Selections of Refined Literature", the editor would also not available to conclude that the total number of volumes is When was the "Preface of Selections of Refined thirty.
    [Show full text]
  • Scanned Using Book Scancenter 5033
    Chapter 5 Tang and the First Turkish Empire: From Appeasement to Conquest After the siege at Yanmen, Sui was on the verge of total collapse. A series of internal rebellions quickly turned into a turbulent civil war pit­ ting members of the ruling class against each other, and with different parts of the country under the control of local Sui generals sometimes facing rebel leaders, all of them soon contending for the greatest of all Chinese political prizes, the chance to replace a dynasty which had evi ­ dently lost the Mandate. Those nearest the northern frontier naturally sought the support of the Eastern Turks, just as Turkish leaders had sought Chinese eissistance in their own power struggles.^ Freed of interference from a strong Chinese power, both the East­ ern and Western Turkish qaghanates soon recovered their positions of dominance in their respective regions. The Eastern qaghanate under Shibi Qaghan expanded to bring into its sphere of influence the Khitan and Shi- wei in the east and the Tuyuhun and Gaochang in the west. The Western Turks again expandedall the way to Persia, incorporating the Tiele and the various oasis states in the Western Regions, which one after another be­ came their subjects, paying regular taxes to the Western Turks. After an initial period of appeasement, Tang succeeded in conquer­ ing the Eastern Turks in 630 and the Western Turks in 659. This chapter examines the reasons for Tang’s military success, and how Tang tried to bring the Turks under Chinese administration so as to build a genuinely universal empire.
    [Show full text]
  • Chapter Three
    526 Chapter Three 經學昌明時代 The Period of Advancement of Classical Scholarship [3/1 SVA Introductory Comments: In the opening section of Chapter Three, Pi Xirui quotes extensively from the "Rulin zhuan" chapter of the Shi ji so as to support his position that during the reign of Emperor Wu (141-87 B.C.), Classical Scholarship was in its purest and most orthodox form. He also uses the lack of information in the "Rulin zhuan" regarding the Old Script Documents, Zhouli, Mao Shi, and Zuozhuan to argue that Sima Qian did not have access to these texts, which are texts of the "Old Script" school.] 3/11 The "Rulin zhuan" chapter of the Shi ji states, "When the present emperor2 ascended the throne, there were men such as Zhao Wan 趙綰 and Wang Zang 王臧3 who clearly understood Confucian learning and the 1[SVA: Section 3/1 corresponds to pp.69-72 of the Zhonghua ed. and to pp.60-64 of the Yiwen ed.] 2(3/1, n.1) Zhou Yutong comments: In the Chinese jinshang 今上, "the present emperor," refers to Emperor Wu of the Han. 3(3/1, n.2) Zhou Yutong comments: Zhao Wan 趙綰 was a native of Dai 代 and Wang Zang 王臧 was a native of Lanling 蘭陵. They both studied the Lu 527 emperor himself was also inclined toward it.4 He thereupon issued an order recruiting scholar-officials in the recommendation categories of Straightforward and Upright, Worthy and Excellent, and Learned.5 After this, as for giving instruction in the Songs, in Lu it was Master Shen Pei 申 培公, in Qi it was Master Yuan Gu 轅固生, and in Yan, it was Grand Tutor Han Ying 韓(嬰)太傅.
    [Show full text]
  • Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
    REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities.
    [Show full text]
  • Court Historiography in Early Tang China: Assigning a Place to History and Historians at the Palace
    COURT HISTORIOGRAPHY IN EARLY TANG CHINA: ASSIGNING A PLACE TO HISTORY AND HISTORIANS AT THE PALACE Isenbike Togan Introduction In Tang China (618–907 CE) policies and political interaction took shape at court, in the context of palace life. During the early Tang, court life came to include activities such as the writing of history: historians were assigned a place in the palace. The placement of the historians within the precincts of the palace was an illustration of the ‘politicization of history’, the institutional and political appropriation of history writing by the Tang court. This new trend did not only shape the interpretation of past events, but also the approach and methods of future historiography. It was during this time that the major histories of the preceding four centuries were written and the groundwork laid for future history writing by professional historians. These changes were initiated by the second Tang emperor Li Shimin, known as Tang Taizong (626–649). He was regarded as an exemplary figure by later dynasties; his reign of Zhen Guan (True Vision) is known in Chinese history as the ‘good rule of the Zhen Guan reign.’ This ‘Golden Age’ lasted for 23 years from 627 to 649. Taizong, who reached power by killing the crown prince and forcing his father to abdicate, was able to achieve high standing in history, irrespective of these events. He gained this standing initially through a policy of shar- ing power with political contestants and consolidated his position with a victory (630) over the Early Türk, the foreign power in the north and the west.
    [Show full text]
  • THE GREAT ERA of ART COLLECTING in CHINA Emperor Taizong and His Followers
    BBognaogna ŁakomskaŁakomska Academy of Fine Arts, Gdansk The State Ethnographic Museum in Warsaw Polish Institute of World Art Studies THE GREAT ERA OF ART COLLECTING IN CHINA Emperor Taizong and his followers n 618 AD when the Tang dynasty was founded, the Imperial Storehouse had merely three hundred scrolls, but all of them were regarded as treasures Ihanded down from the Sui dynasty.1) This small collection, however, only began to grow when on the throne sat Emperor Taizong 太宗 (626 – 649 AD) – one of the greatest art collectors of all times. An excellent scholar and calligra- pher, interested in art himself, Taizong almost fanatically began to buy art from private individuals.2) As a result, by the year 632 AD in the imperial collection there were already over 1,500 scrolls of calligraphy.3) The Imperial Storehouse was much more than simply a repository for art works. It was an exclusive institution uniting excellent intellectuals, artists and capable officials, who also were outstanding experts in art. Its core constituted a counsel of three authorities: Yu Shinan 虞世南 (558 – 638 AD) – once Emperor Taizong’s teacher of calligraphy; Wei Zheng 魏徵 (580 – 643 AD) – a brilliant officer and the emperor’s adviser; and Chu Suiliang 褚遂良 (597 – 658 AD) – 1) Acker (1979: 127). 2) In sponsored by the Emperor Huizong 徽宗 (1100 – 1126) the Xuanhe Huapu宣和画谱 (Catalogue of Paintings of the Xuanhe Emperor [Huizong]), there is a following description of Emperor Taizong as an artist as well as a patron of art: “…Taizong was good at fei bai飞白 (fl ying white) and gave some of his pieces in it to his top offi cials.
    [Show full text]