How Did Buddhism Matter in Tang Poetry?
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Imagining a Universal Empire: a Study of the Illustrations of the Tributary States of the Myriad Regions Attributed to Li Gonglin
Journal of chinese humanities 5 (2019) 124-148 brill.com/joch Imagining a Universal Empire: a Study of the Illustrations of the Tributary States of the Myriad Regions Attributed to Li Gonglin Ge Zhaoguang 葛兆光 Professor of History, Fudan University, China [email protected] Abstract This article is not concerned with the history of aesthetics but, rather, is an exercise in intellectual history. “Illustrations of Tributary States” [Zhigong tu 職貢圖] as a type of art reveals a Chinese tradition of artistic representations of foreign emissaries paying tribute at the imperial court. This tradition is usually seen as going back to the “Illustrations of Tributary States,” painted by Emperor Yuan in the Liang dynasty 梁元帝 [r. 552-554] in the first half of the sixth century. This series of paintings not only had a lasting influence on aesthetic history but also gave rise to a highly distinctive intellectual tradition in the development of Chinese thought: images of foreign emis- saries were used to convey the Celestial Empire’s sense of pride and self-confidence, with representations of strange customs from foreign countries serving as a foil for the image of China as a radiant universal empire at the center of the world. The tra- dition of “Illustrations of Tributary States” was still very much alive during the time of the Song dynasty [960-1279], when China had to compete with equally powerful neighboring states, the empire’s territory had been significantly diminished, and the Chinese population had become ethnically more homogeneous. In this article, the “Illustrations of the Tributary States of the Myriad Regions” [Wanfang zhigong tu 萬方職貢圖] attributed to Li Gonglin 李公麟 [ca. -
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Advances in Social Science, Education and Humanities Research, volume 324 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019) Exploration on the Protection Scheme of the Great Ruins of Southern Lifang District in the Luoyang City Site in Sui and Tang Dynasties Haixia Liang Luoyang Institute of Science and Technology Luoyang, China Peiyuan Li Zhenkun Wang Xi’an University of Architecture and Technology China Petroleum First Construction Company (Luoyang) Xi'an, China Luoyang, China Abstract—The great ruins are a kind of non-renewable district in a comprehensive and detailed way. Through the precious resources. The southern Lifang district in the analysis of the current situation of southern Lifang district, a Luoyang City Site in Sui and Tang Dynasties is the product of relatively reasonable planning proposal is obtained. This the development of ancient Chinese capital to a certain study can provide theoretical or practical reference and help historical stage. As many important relics and rich cultural on the protection and development of Luoyang City Site in history have been excavated here, the district has a rich Sui and Tang Dynasties, as well as the reconstruction of humanity history. In the context of the ever-changing urban southern Lifang district. construction, the protection of the great ruins in the district has become more urgent. From the point of view of the protection of the great ruins, this paper introduces the II. GREAT RUINS, SUI AND TANG DYNASTIES, LUOYANG important sites and cultural relics of southern Lifang district CITY AND LIFANG DISTRICT in Luoyang city of the Sui and Tang Dynasties through field Great ruins refer to large sites or groups of sites with a investigation and literature review. -
A Distant Mirror. Articulating Indic Ideas in Sixth and Seventh Century
Index pp. 535–565 in: Chen-kuo Lin / Michael Radich (eds.) A Distant Mirror Articulating Indic Ideas in Sixth and Seventh Century Chinese Buddhism Hamburg Buddhist Studies, 3 Hamburg: Hamburg University Press 2014 Imprint Bibliographic information published by the Deutsche Nationalbibliothek (German National Library). The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the internet at http://dnb.d-nb.de. The online version is available online for free on the website of Hamburg University Press (open access). The Deutsche Nationalbibliothek stores this online publication on its Archive Server. The Archive Server is part of the deposit system for long-term availability of digital publications. Available open access in the Internet at: Hamburg University Press – http://hup.sub.uni-hamburg.de Persistent URL: http://hup.sub.uni-hamburg.de/purl/HamburgUP_HBS03_LinRadich URN: http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:18-3-1467 Archive Server of the Deutsche Nationalbibliothek – http://dnb.d-nb.de ISBN 978-3-943423-19-8 (print) ISSN 2190-6769 (print) © 2014 Hamburg University Press, Publishing house of the Hamburg State and University Library Carl von Ossietzky, Germany Printing house: Elbe-Werkstätten GmbH, Hamburg, Germany http://www.elbe-werkstaetten.de/ Cover design: Julia Wrage, Hamburg Contents Foreword 9 Michael Zimmermann Acknowledgements 13 Introduction 15 Michael Radich and Chen-kuo Lin Chinese Translations of Pratyakṣa 33 Funayama Toru -
Dissertation Section 1
Elegies for Empire The Poetics of Memory in the Late Work of Du Fu (712-770) Gregory M. Patterson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 ! 2013 Gregory M. Patterson All rights reserved ABSTRACT Elegies for Empire: The Poetics of Memory in the Late Work of Du Fu (712-770) Gregory M. Patterson This dissertation explores highly influential constructions of the past at a key turning point in Chinese history by mapping out what I term a poetics of memory in the more than four hundred poems written by Du Fu !" (712-770) during his two-year stay in the remote town of Kuizhou (modern Fengjie County #$%). A survivor of the catastrophic An Lushan rebellion (756-763), which transformed Tang Dynasty (618-906) politics and culture, Du Fu was among the first to write in the twilight of the Chinese medieval period. His most prescient anticipation of mid-Tang concerns was his restless preoccupation with memory and its mediations, which drove his prolific output in Kuizhou. For Du Fu, memory held the promise of salvaging and creatively reimagining personal, social, and cultural identities under conditions of displacement and sweeping social change. The poetics of his late work is characterized by an acute attentiveness to the material supports—monuments, rituals, images, and texts—that enabled and structured connections to the past. The organization of the study attempts to capture the range of Du Fu’s engagement with memory’s frameworks and media. It begins by examining commemorative poems that read Kuizhou’s historical memory in local landmarks, decoding and rhetorically emulating great deeds of classical exemplars. -
The Appropriation of Tang Poetry in Later Chinese Painting
The Andrew L. Markus Memorial Lecture Andrew Lawrence Markus taught Japanese language and literature at the University of Washington from 1986 to the time of his death in 1995. Established through the generosity of family and friends, this annual lecture honors Professor Markus’s contributions to the study of Asian languages and literature. The Appropriation of Tang Poetry in Later Chinese Painting Ronald Egan is currently Chair of the Department of East Asian Languages Tuesday, May 8th, 2018, 6:30pm and Cultures at Stanford University. He received his Ph.D. in Chinese lit- Kane Hall Room 225 erature from Harvard University. His research focuses on Chinese literature, Walker-Ames Room aesthetics, and cultural history of the Tang-Song period, as well as on text and image studies (poetry and paint- We know that the practice of inscribing poems on paintings was widespread ing) of the later imperial period. His in Chinese painting of the Ming and Qing dynasties. A special and often publications include books on the liter- overlooked instance of that practice was the inscription of poems from ary works and lives of Ouyang Xiu and Su Shi, the latter entitled Word, Image, centuries earlier as part of the newly completed painting (poetry from the and Deed in the Life of Su Shi. He has Tang period was the favorite choice). Such inscription holds particular also published a general study of Song interest for what it shows about the intersection of verbal and pictorial arts as dynasty aesthetic thought, entitled The Problem of Beauty: Aesthetic Thought and well as the aesthetic interplay of past and present. -
The Contrast of Chinese and English in the Translation of Chinese Poetry
Asian Social Science December, 2008 The Contrast of Chinese and English in the Translation of Chinese Poetry Ning Li Continuing Education College Beijing Information Science & Technology University Beijing 100076, China E-mail: [email protected] Abstract Chinese poetry is the soul of Chinese literature and Chinese culture. A good translation of a Chinese verse can promote the prevalence of Chinese culture. In the translation of Chinese poetry, translators should not only keep the characteristics of Chinese poems, but also embody the English characteristics. This article analyzed some versions of translation and proposed factors affecting the translation of Chinese poetry. Keywords: Chinese Poetry, Translation, Contrast 1. Introduction Chinese poetry is one of the most important parts in Chinese literature. Since The Book of Odes, the first poetry collection written by Confucius in the spring-autumn period was known by people, Chinese poetry has developed quickly. In the Tang Dynasty, Chinese poetry was at its peak. In this period, many immortal poems were written and had great influence on the later Dynasties. In the later Dynasties, Chinese poetry went on its development. But because of the development of other literary styles—Yuan Songs (drama created mainly in Yuan Dynasty), novels, and essays, poetry is no longer the major literary style. In this article, I’d like to talk about the contrast of Chinese and English in the translation of Tang-poems. Tang-poems has very strict phonological format. In each stanza, there are five (in quatrains) or seven (in regulated verses) words. Using limited words to express unlimited sense is the major characteristic of Chinese poetry. -
Publications Were Issued in Latin Or German
August 23–28, 2016 St. Petersburg, Russia EACS 2016 21st Biennial Conference of the European Association for Chinese Studies Book of ABStractS 2016 EACS- The European Association for Chinese Studies The European Association for Chinese Studies (EACS) is an international organization representing China scholars from all over Europe. Currently it has more than 700 members. It was founded in 1975 and is registered in Paris. It is a non-profit orga- nization not engaging in any political activity. The purpose of the Association is to promote and foster, by every possible means, scholarly activities related to Chinese Studies in Europe. The EACS serves not only as the scholarly rep- resentative of Chinese Studies in Europe but also as contact or- ganization for academic matters in this field. One of the Association’s major activities are the biennial con- ferences hosted by various centres of Chinese Studies in diffe- rent European countries. The papers presented at these confer- ences comprise all fields from traditional Sinology to studies of modern China. In addition, summer schools and workshops are organized under the auspices of the EACS. The Association car- ries out scholarly projects on an irregular basis. Since 1995 the EACS has provided Library Travel Grants to support short visits for research in major sinological libraries in Western Europe. The scheme is funded by the Chiang Ching-Kuo Foundation and destined for PhD students and young scholars, primarily from Eastern European countries. The EACS furthers the careers of young scholars by awarding a Young Scholar Award for outstanding research. A jury selects the best three of the submitted papers, which are then presented at the next bi-an- nual conference. -
Ideophones in Middle Chinese
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË ! Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas'Van'Hoey' ' Presented(in(fulfilment(of(the(requirements(for(the(degree(of(( Master(of(Arts(in(Linguistics( ( Supervisor:(prof.(dr.(Jean=Christophe(Verstraete((promotor)( ( ( Academic(year(2014=2015 149(431(characters Abstract (English) Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas Van Hoey This M.A. thesis investigates ideophones in Tang dynasty (618-907 AD) Middle Chinese (Sinitic, Sino- Tibetan) from a typological perspective. Ideophones are defined as a set of words that are phonologically and morphologically marked and depict some form of sensory image (Dingemanse 2011b). Middle Chinese has a large body of ideophones, whose domains range from the depiction of sound, movement, visual and other external senses to the depiction of internal senses (cf. Dingemanse 2012a). There is some work on modern variants of Sinitic languages (cf. Mok 2001; Bodomo 2006; de Sousa 2008; de Sousa 2011; Meng 2012; Wu 2014), but so far, there is no encompassing study of ideophones of a stage in the historical development of Sinitic languages. The purpose of this study is to develop a descriptive model for ideophones in Middle Chinese, which is compatible with what we know about them cross-linguistically. The main research question of this study is “what are the phonological, morphological, semantic and syntactic features of ideophones in Middle Chinese?” This question is studied in terms of three parameters, viz. the parameters of form, of meaning and of use. -
How Poetry Became Meditation in Late-Ninth-Century China
how poetry became meditation Asia Major (2019) 3d ser. Vol. 32.2: 113-151 thomas j. mazanec How Poetry Became Meditation in Late-Ninth-Century China abstract: In late-ninth-century China, poetry and meditation became equated — not just meta- phorically, but as two equally valid means of achieving stillness and insight. This article discusses how several strands in literary and Buddhist discourses fed into an assertion about such a unity by the poet-monk Qiji 齊己 (864–937?). One strand was the aesthetic of kuyin 苦吟 (“bitter intoning”), which involved intense devotion to poetry to the point of suffering. At stake too was the poet as “fashioner” — one who helps make and shape a microcosm that mirrors the impersonal natural forces of the macrocosm. Jia Dao 賈島 (779–843) was crucial in popularizing this sense of kuyin. Concurrently, an older layer of the literary-theoretical tradition, which saw the poet’s spirit as roaming the cosmos, was also given new life in late Tang and mixed with kuyin and Buddhist meditation. This led to the assertion that poetry and meditation were two gates to the same goal, with Qiji and others turning poetry writing into the pursuit of enlightenment. keywords: Buddhism, meditation, poetry, Tang dynasty ometime in the early-tenth century, not long after the great Tang S dynasty 唐 (618–907) collapsed and the land fell under the control of regional strongmen, a Buddhist monk named Qichan 棲蟾 wrote a poem to another monk. The first line reads: “Poetry is meditation for Confucians 詩為儒者禪.”1 The line makes a curious claim: the practice Thomas Mazanec, Dept. -
An Analysis of the English Translation of Li Bai's Poems
International Journal of English, Literature and Social Science (IJELS) Vol-4, Issue-4, Jul – Aug 2019 https://dx.doi.org/10.22161/ijels.4437 ISSN: 2456-7620 An Analysis of the English Translation of Li Bai’s Poems Huang Shanshan1, Wang Feng2 1School of Foreign Studies, Yangtze University, Hubei, 434023 PRC China Email: [email protected] 2School of Foreign Studies, Yangtze University, Hubei, 434023 PRC China Email:[email protected] (correspondence) Abstract— For more than 300 years, Li Bai’s poems have been translated, introduced and disseminated in large quantities, which undoubtedly plays an important role in the out-going of Chinese culture. Based on the general historical context of the English translation of Li Bai’s poems and the collected data about his translations, this study analyses the characteristics of his English translation in different periods and sums up how Li Bai’s poems have claimed the world literary status. Keywords— Li Bai’s poems, English translation, characteristics, the world literary status. I. INTRODUCTION II. In recent years, scholars in China and other countries 2.1 Before the 20th Century: the Initial Stage have become more and more enthusiastic about the As early as the 18th century, there were sporadic records translation of Li Bai’s poems and have made some of the poet Li Bai in the West. Most of these records were achievements. However, the research field is relatively made by missionaries, diplomats or sinologists. It is based isolated, mainly focusing on the translation theory or on these early explorations that the translation and practice, lacking of comprehensive interdisciplinary introduction of Li Bai’s poems can be developed rapidly research. -
Aristocratic Culture
Part 3: Cosmopolitan Tang: Aristocratic Culture 12: The Unified Empire: Cosmopolitan Tang Historical Overview Year Event 589 Reunification The Sui defeat of the Southern Dynasties ended the north/south split and the split between the ethnically Han and non-Han dynasties. Like the Qin it its time, this period of reunification, into the first years of the seventh century, sowed the seeds for the cultural and socio-political trends that would come to fruition in the Tang: Strengthening of central control over civil and military authorities. Economic links between N and S that led to the building of the canal. Expansion of the empire into SE and NE Asia Flourishing of Sinisized state Buddhism 630 Tang begins Amid the military overextension and environmental pressures that fomented the Sui civil war, the NE military became a dominant force. By 630, if I understood the lecture correctly, this force had achieved hegemony. The first century-and-a-half saw a new centralized aristocratic empire. Taxes were reorganized around the equal-field system, centralizing control over land and taxes. Non-Chinese people were integrated into the empire. 755-763 An Lushan rebellion Expansion into new areas taxed the Tang militia, requiring professional armies to staff the frontier posts. The An Lushan rebellion of 755-763, a frontier military rebellion, wreaked havoc on the dynasty and ushered in the developments we associate with Later Tang (but not the Later Tang Dynasty of 923). 760-918 Later Tang In this period, the tax system broke down along with relationships with the frontier kingdoms. The government retreated from commerce, opening the way for private enterprise. -
Meditation and Liberation in the Śrāvakabhūmi
国際仏教学大学院大学研究紀要 Journal of the International College for Postgraduate Buddhist Studies 第 16 号(平成 24 年) Vol. XVI, 2012 Far From the Madding Strife for Hollow Pleasures: Meditation and Liberation in the Śrāvakabhūmi Florin Deleanu 国際仏教学大学院大学研究紀要第 16 号 平成 24年3月 1 Far From the Madding Strife for Hollow Pleasures:1 Meditation and Liberation in the Śrāvakabhūmi Florin Deleanu I Prefatory Remarks The Śrāvakabhūmi (Tibetan, Nyan thos kyi sa; Chinese, 聲聞地 Shengwen di), The Foundation of the Disciples[’Path of Spiritual Cultivation],2 constitutes Book XIII of the *Maulyo bhūmayah (Sa dngos gzhi; 本地分 Ben ̇ di fen) division in the Yogācārabhūmi (rNal ’byor spyod pa’i sa; 瑜伽師地論 1 Obviously, part of the title is inspired by Thomas Gray's poem Elegy Written in a Country Churchyard (1751): ʻFar from the madding crowd's ignoble strife/ Their sober wishes never learn'd to stray;/ Along the cool sequester'd vale of life/ They kept the noiseless tenor of their wayʼ. Needless to say, the poem also inspired the title of Thomas Hardy's famous novel Far from the Madding Crowd (1874). The ʻhollow pleasuresʼ, on the other hand, come directly from the Śrāvakabhūmi. Our text contains a long diatribe against sensual pleasures (kāma)(see ŚrBh-Sh 439.17-443.4; for edited Sanskrit text, see Deleanu 2006, 319 § 3.28.2.1.2.2.-323 §3.28.2.1.2.7.; for English translation, ibid. 447-449), which are described as ʻhallowʼ (rikta)( ŚrBh-Sh 441.14=Deleanu 2006, 321.1)−to quote just one out of an endless list of unflattering epithets.