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The Power of the Chinese Brush Concentration Paper Fall Term 1980 Richard M. Ambrose
The Power of the Chinese Brush Concentration Paper Fall Term 1980 Richard M. Ambrose Poetry, prose, calligraphy and painting have long been regarded as the major arts of Chinese civilization. While each art form can be considered separately, there is a fundamental relationship which exists between them. Each form employs the Chinese brush and ink. One cannot over-emphasize the important role of the brush in the history of Chinese paintings. Each brushstroke that is applied reveals the touch of the artist and has a character of its own. Whether thick or thin; straight or curved, short or long, the combination of strokes establishes shapes. Each shape has its own characteristics: breadth, height, contraction, density, emptiness and balance. The interaction of strokes and voids (negative space) within the painting, creates a tension which must be held in equilibrium. The Chinese brush is the end as well as the means. The brush was more than just a tool. It provided a means for the revelation of the idea behind the images. The two concepts of technique and idea were in fact, one and the same. Therefore, the brush is not only the vehicle but also the soul of the artist. The visual qualiti_fts behind Chinese painting are frequently misunderstood. This may be due in part to the application of western definitions to Chinese art. To understand the Chinese artist's intentions, one must understand his existence within the realm of Chinese culture. For instance it has been said that the Chinese way of looking at life was not through religion, philosophy, or science, but primarily through the arts. -
How Geography "Mapped" East Asia, Part One: China by Craig Benjamin, Big History Project, Adapted by Newsela Staff on 01.26.17 Word Count 1,354 Level 1020L
How Geography "Mapped" East Asia, Part One: China By Craig Benjamin, Big History Project, adapted by Newsela staff on 01.26.17 Word Count 1,354 Level 1020L TOP: The Stalagmite Gang peaks at the East Sea area of Huangshan mountain in China. Photo by: Education Images/UIG via Getty Images MIDDLE: Crescent Moon Lake and oasis in the middle of the desert. Photo by: Tom Thai, Flickr. BOTTOM: Hukou Waterfall in the Yellow River. Photo by: Wikimedia The first in a two-part series In what ways did geography allow for the establishment of villages and towns — some of which grew into cities — in various regions of East Asia? What role did climate play in enabling powerful states and civilizations to appear in some areas while other locations remained better suited for a nomadic lifestyle? Let's begin to answer these questions with a story about floods in China. China's two great rivers — the Yangtze and the Yellow — have flooded regularly for as long as we can measure in the historical and geological record. Catastrophic floodwaters This article is available at 5 reading levels at https://newsela.com. Nothing can compare, though, to the catastrophic floods of August 19, 1931. The Yangtze river rose an astonishing 53 feet above its normal level in just one day. It unleashed some of the most destructive floodwaters ever seen. The floods were caused by a "perfect storm" of conditions. Monsoon rains, heavy snowmelt, and unexpected rains pounded huge areas of southern China. All this water poured into the Yangtze. The river rose and burst its banks for hundreds of miles. -
Confucianism, "Cultural Tradition" and Official Discourses in China at the Start of the New Century
China Perspectives 2007/3 | 2007 Creating a Harmonious Society Confucianism, "cultural tradition" and official discourses in China at the start of the new century Sébastien Billioud Édition électronique URL : http://journals.openedition.org/chinaperspectives/2033 DOI : 10.4000/chinaperspectives.2033 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 15 septembre 2007 ISSN : 2070-3449 Référence électronique Sébastien Billioud, « Confucianism, "cultural tradition" and official discourses in China at the start of the new century », China Perspectives [En ligne], 2007/3 | 2007, mis en ligne le 01 septembre 2010, consulté le 14 novembre 2019. URL : http://journals.openedition.org/chinaperspectives/2033 ; DOI : 10.4000/chinaperspectives.2033 © All rights reserved Special feature s e v Confucianism, “Cultural i a t c n i e Tradition,” and Official h p s c r Discourse in China at the e p Start of the New Century SÉBASTIEN BILLIOUD This article explores the reference to traditional culture and Confucianism in official discourses at the start of the new century. It shows the complexity and the ambiguity of the phenomenon and attempts to analyze it within the broader framework of society’s evolving relation to culture. armony (hexie 和谐 ), the rule of virtue ( yi into allusions made in official discourse, we are interested de zhi guo 以德治国 ): for the last few years in another general and imprecise category: cultural tradi - Hthe consonance suggested by slogans and tion ( wenhua chuantong ) or traditional cul - 文化传统 themes mobilised by China’s leadership has led to spec - ture ( chuantong wenhua 传统文化 ). ((1) However, we ulation concerning their relationship to Confucianism or, are excluding from the domain of this study the entire as - more generally, to China’s classical cultural tradition. -
Learning Jueju Through Chinese Painting: a Branch of Bamboo
Worksheet Learning Jueju through Chinese Painting: A Branch of Bamboo Reading comprehension Answer the following questions based on background knowledge. Ni Zan (Chinese: 倪瓚; 1301–1374) was a Chinese painter during the Yuan and early Ming dynasties. Along with Huang Gongwang, Wu Zhen, and Wang Meng, he is one of the Four Masters of the Yuan dynasty. He is also a representative painter of the Nanzong landscape painting during the Yuan dynasty. Ni Zan’s works are mainly ink and water on paper, with light colors in between. The trees in the foreground and the regular script inscriptions in the blank spaces have almost become Ni Zan’s personal symbols. • What is Ni Zan’s identity? • What is he considered to be one of? • What are the characteristics of his works? Worksheet: Learning Jueju through Chinese Painting: A Branch of Bamboo asia.si.edu/teachingchina 1 Bamboo has been depicted in Chinese painting for more than a thousand years. Along with the pine and the plum, bamboo is a member of the Three Friends of Winter due to its ability to bear the harshest of winters. It is also one of the Four Gentlemen (the other three being the plum, the orchid, and the chrysanthemum) due to the moral virtues it represents. The hollowness of the bamboo stalk symbolizes tolerance and open-mindedness, and its flexibility and strength signify the human values of cultivation and integrity: one yields but does not break. All of these virtues make bamboo a very popular subject in Chinese painting, especially among scholar–artists. • How long has bamboo appeared in Chinese painting? • What does the “Three Friends of Winter” refer to? • What does the “Four Gentlemen” refer to? • What does bamboo symbolize? • Why has bamboo become a popular theme in Chinese painting? Worksheet: Learning Jueju through Chinese Painting: A Branch of Bamboo asia.si.edu/teachingchina 2 The poet Qian Weishan (act. -
At the End of the Stream: Copy in 14Th to 17Th Century China
Renaissance 3/2018 - 1 Dan Xu At the End of the Stream: Copy in 14th to 17th Century China There were no single words in Chinese equivalent to By the 14th century the three formats became the form the English word copy. By contrast, there were four preferred by artists, and remained unchallenged until distinctive types of copy: Mo (摹 ), the exact copy, was the early 1900s, when the European tradition of easel produced according to the original piece or the sketch painting came to provide an alternative.[1] The album of the original piece; Lin (临 ) denotes the imitation of was the last major painting format to develop. It ar- an original, with a certain level of resemblance; Fang rived along with the evolution of leaf-books. The album (仿 ) means the artistic copy of a certain style, vaguely was first used to preserve small paintings, later being connected with the original; and the last one, Zao (造 ), adopted by artists as a new format for original work refers to purely inventive works assigned to a certain and also as teaching resource or notebook for the master’s name. artist himself. Pictorial art in China frst emerged as patterns on In the process of the material change, it’s note- ritual vessels, then was transmitted to wall paintings worthy that Mo, the faithful copy, was involved in three and interior screens; later it was realised on horizontal slightly different ways: 1. to transmit an image from hand scrolls, vertical hanging scrolls and albums. manuscript/powder version to final work; 2. -
Learning Jueju Through Chinese Painting: a Branch of Bamboo
lesson plan Learning Jueju through Chinese Painting: A Branch of Bamboo Subject: Chinese Language Arts Grade Level: High School Duration: 85 minutes Dynasty: Yuan (1279–1368) or Ming (1368–1644) Object Types: Album, Painting Themes: Animals and Nature; Language and Stories Contributed by: Yuanyuan Gao, DC International School, Washington, DC A Branch of Bamboo Ni Zan 倪瓚, inscription by Qian Weishan China, Yuan or Ming dynasty, ca. 1369 Ink on paper 11 9/16 x 11 7/16 in Gift of Charles Lang Freer. Freer Gallery of Art, F1915.36d Objectives Students will analyze the painting A Branch of Bamboo along with the poetry printed on it. Then, students will create their own Chinese quatrain, a jueju. Essential Questions • What’s unique about Ni Zan’s painting? • What does bamboo symbolize? • What are the features of jueju? • How do poems and paintings complement each other in Chinese art? Smithsonian Freer Gallery of Art Arthur M. Sackler Gallery lesson plan: Learning Jueju through Chinese Painting: A Branch of Bamboo 1 Background Information Ni Zan (Chinese: 倪瓚; 1301–1374) was a Chinese painter during the Yuan and early Ming dynasties. Along with Huang Gongwang, Wu Zhen, and Wang Meng, he is one of the Four Masters of the Yuan dynasty. Bamboo has been depicted in Chinese painting for more than a thousand years. Along with the pine and the plum, bamboo is a member of the Three Friends of Winter due to its ability to bear the harshest of winters. It is also one of the Four Gentlemen (the other three being the plum, the orchid, and the chrysanthemum) due to the moral virtues it represents. -
Emperor Yu's Flood
INSIGHTS on September 6, 2016 http://science.sciencemag.org/ PERSPECTIVES Downloaded from ANTHROPOLOGY Emperor Yu’s Great Flood Geological data provide support for a legendary flood in China ~4000 years ago By David R. Montgomery with the major cultural transition from the older myth or propaganda to justify the Late Neolithic to the Early Bronze Age in centralized power of imperial rule (1, 3). e know of the legendary Emperor China and that also helps explain curious In contrast to the hero of another well- Yu through the story of China’s details of Yu’s story. known flood story, Yu is not heralded for Great Flood, a tale already an- According to folk tradition, the story of surviving a great deluge sent by an angry cient when first recorded around Yu’s Great Flood is an oral history of real god. Rather, the story tells of how he di- 1000 BCE (1). On page 579 of this disaster, handed down for a millennium be- rected efforts to dredge and channel rivers issue, Wu et al. offer a provocative fore entering written records. However, in to drain the floodwaters (3). It casts this Wnew explanation for this story. They pre- the absence of geological evidence for such sent evidence for an enormous landslide a flood, some scholars have argued that the Earth and Space Sciences, University of Washington, Seattle, dam break 1922 ± 28 BCE (2) that coincided story is either a historicized version of an WA 98195, USA. Email: [email protected] COLLECTION BIGELOW WILLIAM STURGIS IMAGE: 538 5 AUGUST 2016 • VOL 353 ISSUE 6299 sciencemag.org SCIENCE Published by AAAS Battling the Great Flood. -
“The Hereditary House of King Goujian of Yue”
"Yuewang Goujian Shijia": An Annotated Translation Item Type text; Electronic Thesis Authors Daniels, Benjamin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 20:21:08 Link to Item http://hdl.handle.net/10150/293623 “YUEWANG GOUJIAN SHIJIA”: AN ANNOTATED TRANSLATION by Benjamin Daniels ____________________________ Copyright © Benjamin Daniels 2013 A Thesis Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Benjamin Daniels APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Dr. Brigitta Lee May 8, 2013 3 ACKNOWLEDGEMENTS First, I need to express my deepest gratitude to Dr. Enno Giele, who was my first mentor in anything related to ancient China. -
Three Debates on the Historicity of the Xia Dynasty
Journal of chinese humanities 5 (2019) 78-104 brill.com/joch Faithful History or Unreliable History: Three Debates on the Historicity of the Xia Dynasty Chen Minzhen 陳民鎮 Assistant Researcher, Beijing Language and Culture University, China [email protected] Translated by Carl Gene Fordham Abstract Three debates on the historicity of the Xia dynasty [ca. 2100-1600 BCE] have occurred, spanning the 1920s and 1930s, the late 1900s and early 2000s, and recent years. In the first debate, Gu Jiegang 顧頡剛 [1893-1980], Wang Guowei 王國維 [1877-1927], and Xu Xusheng 徐旭生 [1888-1976] pioneered three avenues for exploring the history of the Xia period. The second debate unfolded in the context of the Doubting Antiquity School [Yigupai 疑古派] and the Believing Antiquity School [Zouchu yigu 走出疑古] and can be considered a continuation of the first debate. The third debate, which is steadily increasing in influence, features the introduction of new materials, methods, and perspectives and is informed by research into the origins of Chinese civilization, a field that is now in a phase of integration. Keywords doubting antiquity – faithful history – unreliable history – Xia dynasty The question of the historicity of the Xia dynasty [ca. 2100-1600 BCE] may be considered from two perspectives. First, did the Xia dynasty exist? Second, on the whole, are the accounts relating to the Xia dynasty as recorded in ancient texts reliable? This perspective tends to center upon the veracity of the his- torical events involving Yu the Great 大禹. Different people at different -
Jade Myths and the Formation of Chinese Identity
Journal of Literature and Art Studies, April 2017, Vol. 7, No. 4, 377-398 doi: 10.17265/2159-5836/2017.04.001 D DAVID PUBLISHING Jade Myths and the Formation of Chinese Identity YE Shu-xian LIU Wan-er Shanghai Jiaotong University, Shanghai, China Beijing Institute of Technology, Beijing, China Reality is constructed by societies, whose process must be analyzed by the sociology of knowledge. The “reality”, taken as granted by the public, has sharp contrast from one society to another. By Peter Berger and Thomas Luckman: The Social Construction of Reality Chinese civilization is the only surviving one that has a continual history that lasts for several thousand years since the Stone Age. What’s the secret of its lasting cultural vitality? How can it live through numerous military conflicts and political transitions and still firmly hold a large population of various ethnics within its administration? A long-established cultural centripetal force, i.e. cultural identity shared by multi parties, shall be the key to former questions. According to current focus of cultural research, this force is termed as “Chinese identity”, which explores the formation and continuation of Chinese civilization from the perspective of cultural identity. What is cultural identity? A simplified answer is: Cultural identity fundamentally refers to ethnicity. This characterizes a group whose members claim a common history or origin and a specific cultural heritage, no matter that the history or origin is often mythicized or that the cultural legacy is never totally homogeneous. The essential thing is that these common elements are lived by the concerned group as distinctive characteristics and perceived as such by others1. -
5P.Qian,Part 1,Spirit and Self
∫ SPIRIT AND SELF IN MEDIEVAL CHINA Published with the support of the School of Hawaiian, Asian, and Pacific Studies, University of Hawai‘i ∫ SPIRIT AND SELF IN MEDIEVAL CHINA The Shih-shuo hsin-yü and Its Legacy Nanxiu Qian university of hawai‘i press honolulu © 2001 University of Hawai‘i Press All rights reserved Printed in the United States of America 060504030201 654321 Library of Congress Cataloging-in-Publication Data Qian, Nanxiu. Spirit and self in medieval China: the Shih-shuo hsin-yü and its legacy / Nanxiu Qian. p. cm. Includes bibliographical references and index. ISBN 0-8248-2309-5 (alk. paper)—ISBN 0-8248-2397-4 (pbk. : alk. paper) 1. Liu, I-ch’ing, 403-444. Shih shuo hsin yè. I. Title: Shih-shuo hsin-yü and its legacy. II. Title. DS736.L5363 Q25 2001 895.1'8240208—dc21 00-062949 Chapter 8 first appeared in Nan Nuu: Men, Women, and Gender in Early and Imperial China, Kononklijke Brill N.V., Leiden, The Netherlands (1999). Chapter 9 first appeared in Early Medieval China 4 (1998): 49–82. Both appear here in revised form with the permission of the publishers. University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Deborah Hodgdon Printed by The Maple-Vail Book Manufacturing Group To Richard B. Mather ∫ Contents List of Figures ix Acknowledgments xi Chinese Dynasties xiii Japanese Periods Involved in the Japanese Shih-shuo Imitations xv Introduction 1 Part 1 From Character Appraisal to Character Writing: The Formation of the Shih-shuo Genre Chapter 1. -
Wu Zhen's Poetic Inscriptions on Paintings1 - School of Oriental and African Studies
Wu Zhen's poetic inscriptions on paintings1 - School of Oriental and African Studies Introduction Wu Zhen (1280–1354), style name Zhonggui, also called himself Meihua Daoren (Plum Blossom Daoist Priest), Mei Shami (Plum Priest) and Meihua Heshang (Plum Blossom Priest). He came from Weitang, now known as Chengguan, in Zhejiang Province. Along with Huang Gongwang (1269–1354), Ni Zan (1301–74), and Wang Meng (1308–85), he is known as one of the ‘Four Great Painters of the Yuan Dynasty’.2 Wu Zhen was also one of the leading figures of Chinese literati painting at the height of its popularity. When painting landscapes, or bamboo and rocks, he would usually inscribe his works with poems, and his contemporaries praised his perfection in poetry, calligraphy and painting, or the phenomenon of sanjue, ‘the three perfections’.3 Research to date has concentrated on Wu Zhen's paintings,4 but his poetic inscriptions have been relatively neglected. This article seeks to redress the balance by focusing on Wu Zhen's poetic inscriptions on paintings, both his own and those of past masters, and argues that inscriptions and colophons are an essential key to understanding literati art. Wu Zhen's family background is difficult to ascertain, since only very limited accounts of his life can be found in Yuan period sources.5 Sun Zuo (active mid to late fourteenth century)mentions Wu Zhen's residential neigh- bourhood, painting skills and character, without going into any depth.6 After the mid-Ming period, legends about Wu Zhen developed, and these provide us with some useful material.