China's Earliest Bronze Vessels
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Diversity, Knowledge, and Valuation of Plants Used As Fermentation Starters
He et al. Journal of Ethnobiology and Ethnomedicine (2019) 15:20 https://doi.org/10.1186/s13002-019-0299-y RESEARCH Open Access Diversity, knowledge, and valuation of plants used as fermentation starters for traditional glutinous rice wine by Dong communities in Southeast Guizhou, China Jianwu He1,2,3, Ruifei Zhang1,2, Qiyi Lei4, Gongxi Chen3, Kegang Li3, Selena Ahmed5 and Chunlin Long1,2,6* Abstract Background: Beverages prepared by fermenting plants have a long history of use for medicinal, social, and ritualistic purposes around the world. Socio-linguistic groups throughout China have traditionally used plants as fermentation starters (or koji) for brewing traditional rice wine. The objective of this study was to evaluate traditional knowledge, diversity, and values regarding plants used as starters for brewing glutinous rice wine in the Dong communities in the Guizhou Province of China, an area of rich biological and cultural diversity. Methods: Semi-structured interviews were administered for collecting ethnobotanical data on plants used as starters for brewing glutinous rice wine in Dong communities. Field work was carried out in three communities in Guizhou Province from September 2017 to July 2018. A total of 217 informants were interviewed from the villages. Results: A total of 60 plant species were identified to be used as starters for brewing glutinous rice wine, belonging to 58 genera in 36 families. Asteraceae and Rosaceae are the most represented botanical families for use as a fermentation starter for rice wine with 6 species respectively, followed by Lamiaceae (4 species); Asparagaceae, Menispermaceae, and Polygonaceae (3 species respectively); and Lardizabalaceae, Leguminosae, Moraceae, Poaceae, and Rubiaceae (2 species, respectively). -
HUNG LIU: OFFERINGS January 23-March 17, 2013
PRESS RELEASE FOR IMMEDIATE RELEASE Contacts: December 12, 2012 Maysoun Wazwaz Mills College Art Museum, Program Manager 510.430.3340 or [email protected] Mills College Art Museum Announces HUNG LIU: OFFERINGS January 23-March 17, 2013 Oakland, CA—December 12, 2012. The Mills College Art Museum is pleased to present Hung Liu: Offerings a rare opportunity to experience two of the Oakland-based artist’s most significant large- scale installations: Jiu Jin Shan (Old Gold Mountain) (1994) and Tai Cang—Great Granary (2008). Hung Liu: Offerings will be on view from January 23 through March 17, 2013. The opening reception takes place on Wednesday, January 23, 2013 from 6:00–8:00 pm and free shuttle service will be provided from the MacArthur Bart station during the opening. Recognized as America's most important Chinese artist, Hung Liu’s installations have played a central role in her work throughout her career. In Jiu Jin Shan (Old Gold Mountain), over two hundred thousand fortune cookies create a symbolic gold mountain that engulfs a crossroads of railroad tracks running beneath. The junction where the tracks meet serves as both a crossroads and 1 terminus, a visual metaphor of the cultural intersection of East and West. Liu references not only the history of the Chinese laborers who built the railroads to support the West Coast Gold Rush, but also the hope shared among these migrant workers that they could find material prosperity in the new world. The Mills College Art Museum is excited to be the first venue outside of China to present Tai Cang— Great Granary. -
Was There a Xià Dynasty?
SINO-PLATONIC PAPERS Number 238 May, 2013 Was There a Xià Dynasty? by Victor H. Mair with contributions by E. Bruce Brooks Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
Southeast Asia
SOUTHEAST ASIA Shang Dynasty Zhou Dynasty ● Time of emergence: 1766 BC ● Time of emergence: 1046-256 BCE ● Time they were at their peak:1350 BC ● Divided into 2 different periods (Western Zhou: ● Time they were around: 1766-1122 BC 1046-771 BCE)(Eastern Zhou: 770-256 BCE) ● Time of fall: 1122 BC ● They were around for 8 centuries (800+ years) ● Time of fall: 256 BCE GEOGRAPHIC IMPACT ON SOCIETY Shang Dynasty Zhou Dynasty The Shang Dynasty controlled the North China Plain, which ● They were located west of Shang Dynasty however after corresponds to the modern day Chinese provinces of Anhui, Hebei, conquering Shang Dynasty, their borders extended as far Henan, Shandong, and Shanxi. The area that those of the Shang south as chang Jiang river and east to the Yellow sea. Dynasty lived in, under the Yellow River Valley, gave them water as These body of waters provided fertile soil for good farming well as fertile soil which helped their civilization thrive. Natural borders, and their trading increased. ● Present day location: Xi’an in Shaanxi near the Wei river such as mountains, also protected the area, making it easier to protect. and confluence of the Yellow river The Yellow River also made it easy for the people that lived there to ● They were not geographically isolated from other obtain a steady supply of water. civilizations ● They were exposed to large bodies of water POLITICAL SYSTEM AND IMPACT ON SOCIETY government Shang Dynasty Zhou Dynasty The Shang Dynasty was ruled by a ● The Zhou Dynasty ruled with a confucian social hierarchy hereditary monarchy, in which the ● The citizens were expected to follow the rules and values of confucianism government wa controlled by the king Organization: mainly, and the line of rule descended ● Had the “mandate of heaven” through the family. -
Ceramic's Influence on Chinese Bronze Development
Ceramic’s Influence on Chinese Bronze Development Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2007 Photos on cover page Jue from late Shang period decorated with Painted clay gang with bird, fish and axe whorl and thunder patterns and taotie design from the Neolithic Yangshao creatures, H: 20.3 cm [34]. culture, H: 47 cm [14]. Flat-based jue from early Shang culture Pou vessel from late Shang period decorated decorated with taotie beasts. This vessel with taotie creatures and thunder patterns, H: is characteristic of the Erligang period, 24.5 cm [34]. H: 14 cm [34]. ii Table of Contents Abstract Approximate timeline 1 Introduction 2 Map of Chinese Provinces 3 Neolithic culture 4 Bronze Development 10 Clay Mold Production at Houma Foundry 15 Coins 16 Mining and Smelting at Tonglushan 18 China’s First Emperor 19 Conclusion 21 References 22 iii The transition from the Neolithic pottery making to the emergence of metalworking around 2000 BC held significant importance for the Chinese metal workers. Chinese techniques sharply contrasted with the Middle Eastern and European bronze development that relied on annealing, cold working and hammering. The bronze alloys were difficult to shape by hammering due to the alloy combination of the natural ores found in China. Furthermore, China had an abundance of clay and loess materials and the Chinese had spent the Neolithic period working with and mastering clay, to the point that it has been said that bronze casting was made possible only because the bronze makers had access to superior ceramic technology. -
Nine Provinces‟: Some Parallels with Transmitted Texts1
EASTM 32 (2010): 13-58 The Rong Cheng shi 容 成 氏 Version of the „Nine Provinces‟: Some Parallels with Transmitted Texts1 Vera Dorofeeva-Lichtmann [Vera Dorofeeva-Lichtmann, Ph.D. (1992) in History (Sinology), Moscow State University, is Chargé de Recherche at the CNRS in Paris. Her publi- cations include Graphics and Text in the Production of Technical Knowledge in China: The Warp and the Weft (co-editor), Leiden/Boston: Brill, 2007; “Ritual Practices for Constructing Terrestrial Space (Warring States-Early Han),” in: HdO Early Chinese Religion. Part One: Shang through Han (1250 BC-220 AD), Leiden-Boston: Brill, 2009.] * * * 1. Introduction The Rong Cheng shi manuscript is the largest text among the so-called Shanghai Museum manuscripts on bamboo slips (Shang bo cang jian 上 博 藏 簡) considered to be of Chu 楚 provenance2 and dated to the mid through the late fourth century BC. Since the slips were looted from a Chu tomb, precise place and date of this find are unknown.3 It is, howev- er, commonly accepted that the manuscripts originate from a Chu aristo- cratic tomb closed shortly before the Chu court was obliged to leave the capital at Ying 郢 (Hubei area) in 278 BC.4 1 I am truly grateful to Yuri Pines for having alerted my attention to this man- uscript and for his valuable remarks, and to Wolfgang Behr, Maria Khayutina and Marina Kravtsova for their comments concerning different aspects of this study. My special thanks to John Moffett for corrections of my English. All mis- takes found in this paper are my own reponsibility. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
Maria Khayutina • [email protected] the Tombs
Maria Khayutina [email protected] The Tombs of Peng State and Related Questions Paper for the Chicago Bronze Workshop, November 3-7, 2010 (, 1.1.) () The discovery of the Western Zhou period’s Peng State in Heng River Valley in the south of Shanxi Province represents one of the most fascinating archaeological events of the last decade. Ruled by a lineage of Kui (Gui ) surname, Peng, supposedly, was founded by descendants of a group that, to a certain degree, retained autonomy from the Huaxia cultural and political community, dominated by lineages of Zi , Ji and Jiang surnames. Considering Peng’s location right to the south of one of the major Ji states, Jin , and quite close to the eastern residence of Zhou kings, Chengzhou , its case can be very instructive with regard to the construction of the geo-political and cultural space in Early China during the Western Zhou period. Although the publication of the full excavations’ report may take years, some preliminary observations can be made already now based on simplified archaeological reports about the tombs of Peng ruler Cheng and his spouse née Ji of Bi . In the present paper, I briefly introduce the tombs inventory and the inscriptions on the bronzes, and then proceed to discuss the following questions: - How the tombs M1 and M2 at Hengbei can be dated? - What does the equipment of the Hengbei tombs suggest about the cultural roots of Peng? - What can be observed about Peng’s relations to the Gui people and to other Kui/Gui- surnamed lineages? 1. General Information The cemetery of Peng state has been discovered near Hengbei village (Hengshui town, Jiang County, Shanxi ). -
Title <Translated Article> Western Zhou History in the Collective
<Translated Article> Western Zhou History in the Collective Title Memory of the People of the Western Zhou: An Interpretation of the Inscription of the "Lai pan" Author(s) MATSUI, Yoshinori Citation 東洋史研究 (2008), 66(4): 712-664 Issue Date 2008-03 URL https://doi.org/10.14989/141873 Right Type Journal Article Textversion publisher Kyoto University 712 WESTERN ZHOU HISTORY IN THE COLLECTIVE MEMORY OF THE PEOPLE OF THE WESTERN ZHOU: AN INTERPRETATION OF THE INSCRIPTION OF THE "LAI PAN" MATSUI Y oshinori Introduction On January 19, 2003, twenty-seven bronze pieces were excavated from a hoard at Yangjiacun (Meixian county, Baoji city, Shaanxi province).l All the bronzes, which include twelve ding ~, nine Ii rn, two fanghu 11 if., one pan ~, one he :ii\'t, one yi [ffi, and one yu k, have inscriptions. Among them, the bronzes labeled "Forty-second-year Lai ding" ~ ~ (of which there are two pieces), "Forty-third-year Lai ding" (ten pieces), and "Lai pan" ~~ (one piece) have in scriptions that are particularly long for inscriptions from the Western Zhou period and run respectively to 281, 316 and 372 characters in length. The inscription of the "Lai pan," containing 372 characters, is divided into two parts, the first part is narrated from Lai's point of view but employs the third-person voice, opening with the phrase, "Lai said." The second part records an appointment (ceming :IlJt frJ) ceremony that opens, "The King said." The very exceptional first part records the service of generations of Lai's ancestors to successive Zhou Kings. The inscription mentions eleven former kings, King Wen X3:., King Wu TIk3:., King Cheng JIlG3:., King Kang *3:., King Zhao BR3:., King Mu ~~3:., King Gong *3:., King Yi i~3:., King Xiao ~(~)3:., King Yi 1J$(~)3:., King Li Jj1U (J~)3:. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour. -
The Sacrality of the Mountain the Sacrality of the Mountain
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 12-2014 The aS crality of The ounM tain Manuel Rivera Espinoza University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian History Commons, Asian Studies Commons, Comparative Philosophy Commons, History of Religions of Eastern Origins Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Rivera Espinoza, Manuel, "The aS crality of The ounM tain" (2014). Theses and Dissertations. 2072. http://scholarworks.uark.edu/etd/2072 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. The Sacrality of the Mountain The Sacrality of the Mountain A thesis submitted in partial fulfillment of the requirements of the degree of Master of Arts in History by Manuel Rivera Espinoza Universidad de Chile Bachelor in History, 2008 December 2014 University of Arkansas This thesis is approved for recommendation of the Graduate Council. _______________________________ Dr. Rembrandt Wolpert Thesis Director _______________________________ _______________________________ Dr. Liang Cai Dr. Elizabeth Markham Committee Member Committee Member Abstract In this thesis I explore the conception of the mountain as a “sacred space” based on the definition provided by Mircea Eliade -
The Festival of the Nine Emperor Gods in Malaysia: Myth,Ritual,And Symbol
C heu H ock T ong National University of Singapore The Festival of the Nine Emperor Gods in Malaysia: Myth,Ritual,and Symbol Abstract The present paper describes and analyzes the Festival of the Nine Emperor Gods, a popular celebration among the Chinese in Malaysia. The origins of the myth of the Nine Emperor Gods may be traced back to the Nine Human Sovereigns of Chinese tradition, to the historical events of the Han and Ming dynasties, and to the circumstances of the Chinese immigration into Malaysia. The myth of the Nine Emperor Gods is enacted in a body of rituals, the significance of which is reflected in the symbolic representations of the gods. Myth, ritual, and symbol are thus ideologically interrelated to form a structural framework for the interaction of the yin-yang forces at different levels of the cosmic representations featured in the festival. The festival provides a venue for the yearly renewal of cosmic power, so that human life may be rejuvenated and human conflicts resolved. Key words: Nine Emperor Gods — festival— myth ——ritual— macrocosm 一 micro cosm — infracosm Asian Folklore Studies, Volume 55,1996: 49-72 1 H E Festival of the Nine Emperor Gods (Jiuhuangye 九皇爺)in 1 Malaysia is a form of temple fair celebrated only at temples dedicated to these gods. In a 1984 survey I found tmrty-nine such temples in Peninsular Malaysia and none in the states of Sabah and Sarawak. In 1990 the number in Peninsular Malaysia had increased to fifty. My latest surveys, in 1991 and 1992,revealed a further three temples in the West しoast Residency of Sabah (two in Kota Kinabalu and one in Labuan).1 The organization of the festival can be represented in the form of two large concentric circles.