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Informed Textual Practices?
INFORMED TEXTUAL PRACTICES? INFORMED TEXTUAL PRACTICES? A STUDY OF DUNHUANG MANUSCRIPTS OF CHINESE BUDDHIST APOCRYPHAL SCRIPTURES WITH COLOPHONS By RUIFENG CHEN, B.Ec., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy McMaster University © by Ruifeng Chen, September 2020 McMaster University DOCTOR OF PHILOSOPHY (2020) Hamilton, Ontario (Religious Studies) TITLE: Informed Textual Practices? A Study of Dunhuang Manuscripts of Chinese Buddhist Apocryphal Scriptures with Colophons AUTHOR: Ruifeng Chen B.Ec. (Zhejiang Normal University) M.A. (Zhejiang Normal University) SUPERVISOR: Professor James A. Benn, Ph.D. NUMBER OF PAGES: xv, 342 ii ABSTRACT Taking Buddhist texts with colophons copied at Dunhuang (4th–10th century C.E.) as a sample, my dissertation investigates how local Buddhists used Chinese Buddhist apocrypha with respect to their contents, and whether they employed these apocrypha differently than translated Buddhist scriptures. I demonstrate that not all of the practices related to Buddhist scriptures were performed simply for merit in general or that they were conducted without awareness of scriptures’ contents. Among both lay Buddhist devotees and Buddhist professionals, and among both common patrons and highly-ranking officials in medieval Dunhuang, there were patrons and users who seem to have had effective approaches to the contents of texts, which influenced their preferences of scriptures and specific textual practices. For the patrons that my dissertation has addressed, apocryphal scriptures did not necessarily meet their needs more effectively than translated scriptures did. I reached these arguments through examining three sets of Buddhist scriptures copied in Dunhuang manuscripts with colophons. -
Mar 5 – Jun 12 2016
MAR 5 – JUN 12 2016 PRESS Press Contact Rachel Eggers Manager of Public Relations [email protected] RELEASE 206.654.3151 FEBRUARY 25, 2016 JOURNEY TO DUNHUANG: BUDDHIST ART OF THE SILK ROAD CAVES OPENS AT ASIAN ART MUSEUM MAR 5 See the wonders of China’s Dunhuang Caves—a World Heritage site—through the eyes of photojournalists James and Lucy Lo March 5–June 12, 2016 SEATTLE, WA – The Asian Art Museum presents Journey to Dunhuang: Buddhist Art of the Silk Road Caves, an exhibition featuring photographs, ancient manuscripts, and artist renderings of the sacred temple caves of Dunhuang. Selected from the collection of photojournalists James and Lucy Lo, the works are a treasure trove of Buddhist art that reveal a long-lost world. Located at China’s western frontier, the ancient city of Dunhuang lay at the convergence of the northern and southern routes of the Silk Road—a crossroads of the civilizations of East Asia, Central Asia, and the Western world. From the late fourth century until the decline of the Silk Road in the fourteenth century, Dunhuang was a bustling desert oasis—a center of trade and pilgrimage. The original “melting pot” of China, it was a gateway for new forms of art, culture, and religions. The nearly 500 caves found there tell an almost seamless chronological tale of their history, preserving the stories of religious devotion throughout various dynasties. During the height of World War II in 1943, James C. M. Lo (1902–1987) and his wife, Lucy, arrived at Dunhuang by horse and donkey-drawn cart. -
Journey to Dunhuang: Buddhist Art of the Silk Road Caves
The Newsletter | No.73 | Spring 2016 56 | The Portrait Journey to Dunhuang: Buddhist art of the Silk Road caves During World War II, James C. M. Lo (1902–1987), a photojournalist for the Central News Agency, and his wife Lucy 劉氏·羅先 arrived at Dunhuang. James Lo had taken a year’s leave to photograph the Buddhist cave temples at Mogao and at nearby Yulin. Lucy was also a photographer, and together they made the arduous journey in 1943. They systematically produced over 2500 black and white photographs that record the caves as they were in the mid-20th century. FOONG Ping 1 2 Seattle Asian Art Museum, Foster Galleries 4 By the end of the Tang dynasty, the cliff face at Mogao was 5 March – 12 June 2016 completely covered with caves. Since no new caves could be Journey to Dunhuang is organized in cooperation opened, donors paid for existing ones to be redecorated and with the Princeton University Art Museum and – and infamous forger – Zhang Daqian (1899-1983), Fig 1 (above their portraits would sometimes be added to the cave walls. the P.Y. and Kinmay W. Tang Center for East Asian Art who was at Dunhuang repairing and making replicas of Mogao left): View of the Some Lo photographs document how walls were deeply scored murals. He helped the Los form their collection of manuscript Northern Mogao during renovations, in preparation for a new, smooth surface THE LO PHOTOGRAPHIC ARCHIVE is a feat of ingenuity, fragments and a few carry both their seals. For Zhang, Dunhuang Caves, Photograph of white gaolin clay; to James these scorings formed patterns of organization, and sheer courage. -
Non-Chinese Influences in Medieval Chinese Manuscript Culture
Non-Chinese Influences in Medieval Chinese Manuscript Culture Imre Galambos Introduction The Chinese script is among the most powerful symbols of Chinese culture, one of the key elements by which the people of China to this day define their national identity. I With a documented history of over three millennia, it lies at the core of the modern vision of historical continuity, and its significance in the formation of a coherent cultural narrative cannot be overstated. Paradoxically, the majority of written witnesses from the country's iconic and quintessentially "national" dynasties, the Tang and the Song, come from the northwestern peripheries of the Chinese domain, from sites such as Dunhuang, Turfan and Khara-khoto. Perhaps the biggest sensation of all was the discovery of the Dunhuang manuscripts at the beginning of the twentieth century in a sealed-off library cave at the Mogao site about 30 km from the city of Dunhuang. Part of their fame was due to the fact that the manuscripts were subsequently utilised in the nationalist movement of the late I920s. Shortly after the discovery of the cave library, the main bulk of the material was purchased by foreign explorers and shipped out of the country, causing leading Chinese intellectuals to join forces in a publicity campaign to prevent the export of cultural artifacts. Partly as a result of this campaign, many artifacts discovered or excavated during the first decades of the century gradually acquired the status of national treasures, with the Dunhuang manuscripts at the top of the list.' The largest collection of Dunhuang manuscripts was assembled by Aurel Stein on two subsequent visits to the cave library in 1907 and 1913. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
Medieval China's Buddhist Monasteries, Regardless of Size, Were
foreign gifts to buddhist monasteries rong xinjiang Khotanese Felt and Sogdian Silver: Foreign Gifts to Buddhist Monasteries in Ninth- and Tenth-Century Dunhuang INTRODUCTION edieval China’s Buddhist monasteries, regardless of size, were M |frequently the cultural centers of a given region. Large monas- teries in the Tang capital of Chang’an, such as Hongfu Monastery ؖ ʳduring theڝduring the reign of Taizong, Cien Monastery ს ڝ壂 -ʳduring the reign of emڝreign of Gaozong, Taiyuan Monastery ֜ during the reign of ڝpress Wu, and Da Xingshan Monastery Օᘋ Xuanzong were all cultural centers in the capital. The same holds true -ʳwas a culڝin the Dunhuang region, where Longxing Monastery ᚊᘋ and Sanjie Monastery Կ ,ڠޥ tural center within the city of Shazhou in front of the Mogao Caves ๕ᆌ was a cultural center for the ڝ area outside of the city. Monasteries such as these housed visiting li- terati and erudite monks versed in Buddhist doctrine; they also kept Buddhist, Confucian, and Daoist scriptures as well as literary writings. Since the official government schools remained weak in scope and in- fluence, Buddhist monasteries shouldered the burden of providing basic Confucian instruction.1 They also, to varying degrees, preserved mate- rial wealth in the form of gold and silver utensils, silk banners, paint- ings, murals, images, textiles, and dyes. In short, in medieval times the Buddhist monastery was both a nursery for spiritual cultivation and a repository of material culture. An earlier version of this article appeared in Chinese as “Yutian huazhan yu Sute yin pan, ೃऱڝjiu shi shiji Dunhuang siyuan de wailai gongyang” Պᠤक़ᛋፖᎬᒌԼધཉᅇ ೃತ༄ڝ ؆ࠐࠎ塄, in Hu Suxin ైᤲ (Sarah E. -
The Tribute Trade with Khotan in Light of Materials Found at the Dunhuang Library Cave
The Tribute Trade with Khotan in Light of Materials Found at the Dunhuang Library Cave V ALERIE HANSEN yale university, new haven Historians have long been interested in the Chi- one jade tablet and one box.”3 This is but one of nese tributary system because of its importance a dozen instances on which Khotanese envoys to understanding China’s relations with other brought tribute to the Chinese between 938 and countries—both in the past and today. Many of 1009.4 In each case, the Chinese sources record today’s intractable foreign policy issues had their the date, the name of the country presenting trib- roots in the tribute system. One has only to think ute, the item presented, and occasionally the of Tibet—was it a part of China during the Qing name of the emissary heading the delegation. dynasty? independent? something in between?— None of these sources, though, records how the to grasp the importance of the topic. participants viewed these exchanges. Nor do we Most studies of the tribute system have focused learn what they received in return for their gifts. on periods like the Qing dynasty (1644–1911) For this information, we must look to the Chi- when China was united and its weaker neigh- nese- and Khotanese-language documents pre- bors presented gifts to the emperor in the capital. served in the library cave of Dunhuang (cave 17 Northwest China in the ninth and tenth centu- according to the numbering in use today) and ries offers a promising comparison because the taken to the United Kingdom, France, and Russia Tang central government, ravaged by the costs of in the early years of the twentieth century. -
Transition of Role of the Jingtu Monastery in Later Tang: a Study on the Account Book of the Jingtu Monastery in 931
Transition of Role of the Jingtu Monastery in Later Tang: A study on the account book of the Jingtu Monastery in 931 Presented to the Faculty of the Department of East Asian Languages and Cultures Bryn Mawr and Haverford Colleges In partial fulfilment of the requirement of the degree of Bachelors of Arts By Mengnan Zhang Thesis Advisor: Professor Hank Glassman Bryn Mawr, Pennsylvania December 2015 Zhang 1 TABLE OF CONTENTS TITLE PAGE ..……………………………………………………………………………… 0 ABSTRACT …………………………………………………………………………………. 2 ACKNOWLEDGEMENT …………………………………………………………………… 3 Introduction ………………………………………………………………………………….. 4 Primary Source ………………………………………………………………………………. 6 Guiyi Circuit ………………………………………………………………………………….10 Jingtu Monastery ……………………………………………………………………………. 12 Primary Source Analysis ……………………………………………………………………..13 Conclusion …………………………………………………………………………………....28 Bibliography …………………………………………………………………………………..34 Zhang 2 Abstract The study of Dunhuang manuscripts have been one of the important areas in Sinology as well as in the study of world history. Many previous studies had done on the Buddhist manuscripts found in Dunhuang, however, only few studies had focused on the economic manuscripts. This thesis examines the management book of the Jingtu Monastery in the year 931 to argue that the Jingtu Monastery has became an independent entity rather than a place only for religious purpose. This four columns style management book records every single transactions happened throughout the year of 930, including income and expense. Based on the analysis of the income part of the management book, the interest on loans is the most important way of collecting income, while comparing to records from previous years, the interest on loans is not as important as the income from land lease as well as donations. The analysis clearly shows that monasteries in Dunhuang, including the Jingtu Monastery, functioned as an independent economic entity, since they owned lands, they monopolized essential installations for agriculture, and they even issued loans to people. -
Historical Romance and Sixteenth-Century Chinese Cultural Fantasies
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Yuanfei Wang University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the History Commons Recommended Citation Wang, Yuanfei, "Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies" (2013). Publicly Accessible Penn Dissertations. 938. https://repository.upenn.edu/edissertations/938 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/938 For more information, please contact [email protected]. Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Abstract Chinese historical romance blossomed and matured in the sixteenth century when the Ming empire was increasingly vulnerable at its borders and its people increasingly curious about exotic cultures. The project analyzes three types of historical romances, i.e., military romances Romance of Northern Song and Romance of the Yang Family Generals on northern Song's campaigns with the Khitans, magic-travel romance Journey to the West about Tang monk Xuanzang's pilgrimage to India, and a hybrid romance Eunuch Sanbao's Voyages on the Indian Ocean relating to Zheng He's maritime journeys and Japanese piracy. The project focuses on the trope of exogamous desire of foreign princesses and undomestic women to marry Chinese and social elite men, and the trope of cannibalism to discuss how the expansionist and fluid imagined community created by the fiction shared between the narrator and the reader convey sentiments of proto-nationalism, imperialism, and pleasure. -
Accessing to Chinese Rock Music Wave from 1980S Through 1990S
2020-3929-AJHA 1 Accessing to Chinese Rock Music Wave from 1980s Through 2 1990s 3 4 Chinese rock music wave was a controversial cultural phenomenon from 1980s 5 through 1990s, which could be regarded as a prism of social changes in 6 contemporary China. It was usually regarded as a subversive subculture and 7 opposite to mainstream culture. This thesis tries to rethink the cliches of Chinese 8 rock music wave from an external sociological perspective as well as musical and 9 textual analysis. The emergence of Chinese rock music was deeply rooted in the 10 background of reform and opening up, in which the ideology and social structure 11 was undergoing a holistic change. By involving in the process of globalization, 12 cultural imports impacted Chinese contemporary cultural pattern. In the matter 13 artistic feature, contemporary culture in China was stratified into dominant 14 culture, elite culture, popular culture and folk culture. Chinese rock music makers 15 adopted and responded all the cultural patterns initiatively, rather than make a 16 voice of dissent on behalf of a certain minority. In the matter of participating 17 groups, many individuals lost or give up their original posts during the social 18 transformation and spill out of the social structure. They had different social 19 status and habitus (Bourdieu) previously, and, by entering into rock music circle, 20 facilitated the genesis of a social subfield. Conversely, as an emergent subfield, 21 Chinese rock music wave accommodated many scattered individual during the 22 social change. This thesis hereto conclude that the subversive figure is only a 23 superficially commercial tag. -
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
OHBM 2021 Abstract Book
Abstract Book of the 27th annual meeting of the Organization for Human Brain Mapping Including links to abstracts, poster PDFs, standby times, and poster locations, as well as Author and Category indexes, and Poster Highlights 9 June 2021 — v2.0 [email protected] OHBM 2021 Abstracts 1042 Cortical Thickness, Surface Area and Volume in the Reading 1069 Heterogeneous age dependency in the human superior Network of Children with Dyslexia longitudinal fasciculus Rita Barakat1, Jason Zevin1, Kristi Clark1 Kaoru Amemiya1,2, Eiichi Naito1,2, Hiromasa Takemura1,2 1University of Southern California, Los Angeles, CA 1Center for Information and Neural Networks (CiNet), NICT, Suita-shi, Japan, Abstract | Poster PDF | Standby Times | Visit poster 2Graduate School of Frontier Biosciences, Osaka University, Suita-shi, Japan Abstract | Poster PDF | Standby Times | Visit poster 1050 The Effect of Scan Length on Reliability of Resting-State fMRI in Awake and under Anesthesia 1087 Enhanced activity in DMN (Precuneus) on Resting state fMRI, Faezeh Vedaei1, Mahdi Alizadeh1, Sara Thalheimer1, Victor Romo1, Feroze with Spiritual Practice Mohamed1, Chengyuan Wu1 Dr Santosh GUPTA1, Dr Rose Dawn2 1Thomas Jefferson University, Philadelphia, PA 1P.D. Hinduja Hospital & Medical Research Center, Mumbai, Maharashtra, Abstract | Poster PDF | Standby Times | Visit poster 2NIMHANS, Bangalore, Karnataka Abstract | Poster PDF | Standby Times | Visit poster 1051 Divergence of cortical asymmetry and atrophy in temporal lobe epilepsy: A worldwide ENIGMA study 1088