Science, Technique, Technology: Passages Between Matter and Knowledge in Imperial Chinese Agriculture”
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Rice, Technology, and History: the Case of China
RICE, TECHNOLOGY, AND HISTORY The Case of China By Francesca Bray Wet-rice farming systems have a logic of technical and economic evolution that is distinctively different from the more familiar Western pattern of agricultural development. The well-documented history of rice farming in China provides an opportunity for students to reassess some commonly held ideas about tech- nical efficiency and sustainable growth. rom 1000 to 1800 CE China was the world’s most populous state and its most powerful and productive economy. Rice farming was the mainstay of this empire. Rice could be grown successfully in only about half of the territory, in the south- F ern provinces where rainfall was abundant. There it was the staple food for all social classes, landlords and peasants, officials and artisans alike. The more arid climate in the north was not suited to rice; northern farmers grew dry-land grains like wheat, millet, and sorghum for local consumption. But the yields of these grains were relatively low, whereas southern rice farming produced sufficient surpluses to sustain government and commerce throughout China. Vast quantities of rice were brought north to provision the capital city— home to the political elite, the imperial court, and all the state ministries—and to feed the huge armies stationed along the northern frontier. People said that the north was like a lazy brother living off the generosity of his hard-working and productive southern sibling. Thou- sands of official barges carried rice from Jiangnan to the capital region along the Grand Canal, and more rice still was transported north in private ships along the coast (fig. -
Natural History Connects Medical Concepts and Painting Theories In
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Natural history connects medical concepts and painting theories in China Sara Madeleine Henderson Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henderson, Sara Madeleine, "Natural history connects medical concepts and painting theories in China" (2007). LSU Master's Theses. 1932. https://digitalcommons.lsu.edu/gradschool_theses/1932 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. NATURAL HISTORY CONNECTS MEDICAL CONCEPTS AND PAINTING THEORIES IN CHINA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Sara Madeleine Henderson B.A., Smith College, 2001 August 2007 Dedicated to Aunt Jan. Janice Rubenstein Sachse, 1908 - 1998 ii Preface When I was three years old my great-aunt, Janice Rubenstein Sachse, told me that I was an artist. I believed her then and since, I have enjoyed pursuing that goal. She taught me the basics of seeing lines in nature; lines formed on the contact of shadow and light, as well as organic shapes. We also practiced blind contour drawing1. I took this exercise very seriously then, and I have reflected upon these moments of observation as I write this paper. -
Lecture 5 Agriculture, History of Energy Use I
GEOS 24705 / ENST 24705 / ENSC 21100 2017 Lecture 5 Agriculture, History of Energy Use I In earliest human history the only “engines” were people Maize farmer, somewhere in Africa, 2007 Source: CIMMYT In earliest human history the only “engines” were people Ploughing by hand, Uganda In most of the world, people quickly adopted more powerful “bio-engines” Diderot & d`Alembert eds, Encyclopédie méthodique. Paris 1763-1777 & 1783-87. Harvesting is a complex motion, difficult to automate Wheat harvest, Hebei Province, China, 2007 (source: www.powerhousemuseum.com) The combine allowed harvesting to be animal-powered 27 horsepower! (or perhaps horse- +mule-power) Horse drawn combine, likely 1910s-20s. Source: FSK Agricultural Photographs Combines functions: cuts and threshes grain ~27 horsepower may be practical upper limit Horse-drawn combine, Almira, WA, 1911. W.C. Alexander. Source: U. Wash. library Rotation: animal powered wheels have a long history First use: grinding Clay millers, W.H. Pyne, London (1806) Grindstone, China from the encyclopedia “Tiangong Kaiwu”, by Song Yingxing (1637) Human powered wheels persisted into the modern era Lathe, late 1700s Japanese water pump, still used in 1950s Rotational motion is a fundamental industrial need …. Grinding is not the only use of rotational motion. Other sources of rotational kinetic energy: wind and water Vertical-axis Persian windmill, 7th century (634-644 AD) or later Vertical-axis waterwheel 1500s or earlier Very early a switch was made from vertical to horizontal axes Pitstone windmill, believed to be the oldest Horizontal-axis waterwheel in Britain. Pluses & minuses for horizontal axes Post mill diagram, from The Dutch Windmill, Frederick Stokhuyzen Industrial windmil cogs Pluses & minuses for horizontal axes Plus: * increased efficiency (both wind & water) Minus: * complicated gearing to alter axes * must rotate windmill to match wind dir. -
The European Discovery of China Pompeu Fabra University Barcelona
THE EUROPEAN DISCOVERY OF CHINA POMPEU FABRA UNIVERSITY BARCELONA THE 17th CENTURY GRAINS, WHEELS AND WELLS At the beginning of the 17th century, Ming China was the largest, richest and most populous country of the world. The vitality of its society is well reflected in a book published in 1637, the Tiangong Kaiwu, The Exploitation of the Works of Nature, written by Song Yingxing. Song was an unsuccessful scholar who failed again and again the highest level of the official examinations. At the end he felt weary and he took a different course, based on his personal research. He had travelled a lot and was a good observer. And he had noticed that scholars who spent long years secluded in their studies they also needed practical preparation to deal with real life. The Tiangong Kaiwu is a comprehensive treatise that blends together agriculture, craftsmanship and material inventiveness. It documents the extraction and processing of raw materials and the manufacture of goods essential to everyday life. The book describes the means of producing rice, silk, salt, pottery and porcelain, metals, coal, paper, weapons and many other commodities. The book is lavishly illustrated with hundreds of woodblock prints and gives testimony of the extraordinary genius of Chinese technology. The Tiangong Kaiwu opens with the agricultural chapters. It illustrates the manifold kinds of wheels applied to irrigation and their ingenious combinations to redirect the hydraulic energy. Those big hydraulic wheels were technological marvels, but they went side by side with the small wheels that could be operated by one or two persons. All these agricultural implements were made of wood, which means that they could be made or repaired at family or village level. -
History of the Book in China Oxford Reference
9/1/2016 40 The History of the Book in China Oxford Reference Oxford Reference The Oxford Companion to the Book Edited by Michael F. Suarez, S.J. and H. R. Woudhuysen Publisher: Oxford University Press Print Publication Date: 2010 Print ISBN13: 9780198606536 Published online: 2010 Current Online Version: 2010 eISBN: 9780199570140 40 The History of the Book in China J. S. EDGREN 1 The book before paper and printing 2 Tang to Yuan (7th–14th centuries) 3 Ming to Qing (14th–19th centuries) 4 The 20th century 1 The book before paper and printing nd th Although the early invention of true paper (2 century BC) and of textual printing (late 7 century) by *woodblock printing profoundly influenced the development of the book in China, the materials and manufacture of books before paper and before printing also left some traces. Preceding the availability of paper as a writing surface, the earliest books in China, known as jiance or jiandu, were written on thin strips of prepared bamboo and wood, which were usually interlaced in sequence by parallel bands of twisted thongs, hemp string, or silk thread. The text was written with a *writing brush and lampblack *ink in vertical columns from right to left—a *layout retained by later MSS and printed books—after which the strips were rolled up to form a primitive *scroll binding (see 17). The surviving specimens of jiance are mostly the result of 20th th rd century scientific archaeological recovery, and date from around the 6 century BC to the 3 century AD. -
Sustainable Agriculture in China
Multiple pathways: case studies of sustainable agriculture in China Edited by Seth Cook and Lila Buckley Contributing authors: Qiao Yuhui, Qi Gubo, Seth Cook, Lila Buckley, Song Yiching, Zhang Yanyan, Zhang Li, He Xueqing, Friederike Martin, Yue Shizhong and Wang Zhen Multiple pathways: case studies of sustainable agriculture in China Edited by Seth Cook and Lila Buckley Contributing authors: Qiao Yuhui, Qi Gubo, Seth Cook, Lila Buckley, Song Yiching, Zhang Yanyan, Zhang Li, He Xueqing, Friederike Martin, Yue Shizhong and Wang Zhen About the editors Lila Buckley, senior researcher, China Team, Natural Resources Group, IIED. See www.iied.org/users/lila-buckley Seth Cook, senior researcher, China Team, Natural Resources Group, IIED. See www.iied.org/users/seth-cook Produced by IIED’s Natural Resources Group The aim of the Natural Resources Group is to build partnerships, capacity and wise decision-making for fair and sustainable use of natural resources. Our priority in pursuing this purpose is on local control and management of natural resources and other ecosystems. Published by IIED, 2015 Cook, S. and Buckley, L. (eds.) (2015) Multiple pathways: case studies of sustainable agriculture in China. IIED, London. See: http://pubs.iied.org/17579IIED Typesetting by: Judith Fisher, email: [email protected] Copyediting by: Fiona Hinchliffe, email: [email protected] and Mary Buckley, email: [email protected] Cover photo: Harvesting vegetables in Shanggula village © Simon Lim Printed by Full Spectrum Print Media, -
English Version
Bat Cave: Treasures of the Day and Chamber 1 14 Hard wood case carved with bats and clouds 27 Vase with bats, gourd vines, and character 40 Hair ornament with bats in gilt silver and gems 53 Gourd-shaped wall vase with bats and Qing dynasty, 19th century “shou” in underglaze blue Qing dynasty, 19th - early 20th century characters “daji (luck)” in famille-rose enamels Creatures of the Night 1 Dish with bat-and-peach design Mark and period of Qianlong (1736 - 1795), Qianlong period (1736 - 1795), Qing dynasty Cheng Xun Tang Collection Mengdiexuan Collection in famille-rose enamels Qing dynasty Exhibit Checklist and Gallery Floor Plan Mark and period of Yongzheng (1723 - 1735), Huaihaitang Collection Huaihaitang Collection Qing dynasty 41 Copper snuff bottle with Daoist immortals in enamels falangcai 54 Gourd-shaped jade scent holder with bats Hong Kong Museum of Art Collection, 15 Pair of bowls with five bats in underglaze blue 28 Dragon-handled vase with a hundred “ ” Mark and period of Qianlong (1736 - 1795), shou and characters “ (luck)” in openwork Gallery Floor Plan Donated by B.Y. Lam Foundation Mark and period of Yongzheng (1723 - 1735), characters in gilt on lime green ground Qing dynasty daji Qing dynasty Mark and period of Qianlong (1736 - 1795), Qing dynasty (1644 - 1911) Qing dynasty Huaihaitang Collection 2 Dish with bat-and-peach design C. P. Lin Collection Hong Kong Museum of Art Collection in famille-rose enamels Mark and period of Yongzheng (1723 - 1735), Yi Tak Tang Collection 42 Pair dishes with bats, peaches, and seascape 16 Gourd-shaped bottle with bat-and-cloud Qing dynasty in doucai enamels design in doucai enamels 55 Jade pendants in blessings-and-longevity- th 29 Bat-handled vase with floral patterns and Mark and period of Yongzheng (1723 - 1735), Collection of the Art Museum, CUHK, Qing dynasty, 18 century before-your-eyes design characters “ ” in enamels Qing dynasty th Gift of B. -
Blast Furnaces in Song–Yuan China
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by East Asian Science, Technology, and Medicine (EASTM - Universität Tübingen) EASTM 18 (2001): 41-74 Blast Furnaces in Song–Yuan China Donald B. Wagner [Donald B. Wagner is an independent scholar, presently based at the Nordic Institute of Asian Studies in Copenhagen, Denmark. His research has in recent years focused on the history of ferrous metallurgy in China, his most recent book being The State and the Iron Industry in Han China (2001). He is also engaged in preparing a series of textbooks in Classical Chinese.1] * * * The Chinese "commercial revolution" of the eleventh century was accompanied by a number of important technical developments. In the iron industry, the last major advances in blast furnace design were made. Water power was widely used for the blast, and coal and coke began to take the place of charcoal for the fuel. New blast furnace structures came into use, in some cases foreshadowing early European designs and those known from the traditional Chinese iron industry of the nineteenth and twentieth centuries. This article reviews the available evidence on the construction and operation of iron blast furnaces in the Song and Yuan periods, with special reference to the use of mineral fuel Blast Furnace Excavations Excavations of ironworks sites of the Song and Yuan periods have been reported in seven Chinese provinces.2 Of these a few are reported in sufficient detail to give us some idea of how blast furnaces in this period were built, and how they differed from what is known from periods before and after.3 1 E-mail address: [email protected]; web-site: http://staff.hum.ku.dk/dbwagner. -
Wang Zhen (1867 -1938 ), Businessman, Philanthropist, and Artist
AForgotten Celebrity Wang Zhen (1867 -1938 ), Businessman, Philanthropist, and Artist H SI NG -YUAN TSAO The name Wang Zhen is unfamilar to most young people in today's China. Even worse, he has been almost unknown in his own country for more than forty years, and his paintings are collected principally outside of China. It is not an uncommon situation under the Commu• nist regime that some celebrities who lived prior to the founding of the People's Republic, and who were involved in various political activities, suffer the fading away of their names. A considerable part of modern Chinese history is covered in this way by a great gray mist of political ambiguity. In the case of Wang Zhen, who was better known as Wang Yiting, two other factors have negatively affected his reputation: his having worked for the Japanese as a comprador, and the support he gave to, and admiration he received from, the Nation• alist regime .' A decline in his popularity was thus more or less inevi• table after the founding of the People's Republic. WangZhen's relative obscurity today demonstrates again that art history has not been free from the influence and sometimes domination of politics, especially when the artist himself was an activist on the political and cultural stage. Itwas onlyin 1988 that a book on his art was published in Shang• hai.' Ironically, its publication was sponsored by aJapanese company as an expression of gratitude forwhat Wang Zhen had done after the great 1923 earthquake in Tokyo.' In contrast to his relative obscurity in recent times, the 1931 edi• tion of Who's Who in China presented Wang Zhen with more titles of social involvement than, seemingly, any individual could bear. -
Mines, a Comprehensive
地 雷 通 史 Mines, a comprehensive Directory Preface ———————————————————————1 Upper volume (ancient volume) ————————————4 1.The preliminary rudiment of song dynasty to Ming Dynasty ------------------------------------5 2.The early landmines of the Ming and Qing Dynasties --13 Middle (modern) volume ———————————————24 1.The early landmines of the West ----------------25 2.Origin of the core of landmines——A Brief description of TNT --------------------------------------35 3.The rise of standard landmines -----------------41 The second volume (modern volume) ——————————47 1.Landines and war ---------------------------48 2.The new differentiation of landmines -------------68 3.The decline of landmines ---------------------80 Epilogue——The vanishing landmine culture ——————90 Appendix——Map of common landmines ————————100 Preface As an important member of the war scene, landmines has played an important role in the war drama in the history of the war. But in these days of relative peace, landmines still exist in old battlefields, they still exist in new battlefields of conflict, they still exist on sand maps in armies...... Ever since its invention, the landmine has never been late and can be attacked or withdrawn in the war. This unique strategic significance makes it impossible to erase in the war, and the scars it leaves on people will not be washed away by time. It is in this way that landmines have left a permanent mark on the development of mankind, whether in the wartorn past or the relatively peaceful present, or in the unpredictable future. Although most people's impression of landmines today is confined to TV dramas, or the comics and comic books that the older generation used to recite, landmines seem infinitely distant from us. -
Painters and Publishing in Late Nineteenth-Century Shanghai
Painters and Publishing in Late Nineteenth-century Shanghai JONATHAN HAY The relationship between the art world of Shanghai and the city's pub• lishing industry during the first two decades of the Guangxu reign, from the mid-187os to the mid-r89os, is complex enough to deserve several essays. Here, I shall focus on just one of its aspects: the massive involvement of Shanghai-based painters inproviding designs for illus• trated books closely related to their normal production as painters. These books provide rich material for thematic study, in particular of the late nineteenth-century Chinese representation of metropoli• tan experience; in this essay, ho wever, while I will make a number of such points in passing, I want to defer thematic interpretation in favor of a preliminary survey of the material and a discussion of underlying issues. Since illustrated books of this period have attracted little schol• arly attention, this means classifying the books in question by genre and date and providing information on their contributors and con• tents. One of the implications of taking seriously the mass of printed images is that it then becomes impossible to treat Shanghai painting adequately without taking into account the contributions of those painters to the publishing industry with its very different economic and social relationships. As I shall try to show later, one can legiti• mately use the evidence of the books to explore the larger question of the public space of painting in late nineteenth-century Shanghai, and in the process shed light on the role of illustrated books in China's emergent mass culture. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C.