Biography of Di Renjie 112 12-04-2016 Translated by Piet Rombouts from the Old Tang History
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Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen 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 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
A Brief Analysis of China's Contemporary Swordsmen Film
ISSN 1923-0176 [Print] Studies in Sociology of Science ISSN 1923-0184 [Online] Vol. 5, No. 4, 2014, pp. 140-143 www.cscanada.net DOI: 10.3968/5991 www.cscanada.org A Brief Analysis of China’s Contemporary Swordsmen Film ZHU Taoran[a],* ; LIU Fan[b] [a]Postgraduate, College of Arts, Southwest University, Chongqing, effects and packaging have made today’s swordsmen China. films directed by the well-known directors enjoy more [b]Associate Professor, College of Arts, Southwest University, Chongqing, China. personalized and unique styles. The concept and type of *Corresponding author. “Swordsmen” begin to be deconstructed and restructured, and the swordsmen films directed in the modern times Received 24 August 2014; accepted 10 November 2014 give us a wide variety of possibilities and ways out. No Published online 26 November 2014 matter what way does the directors use to interpret the swordsmen film in their hearts, it injects passion and Abstract vitality to China’s swordsmen film. “Chivalry, Military force, and Emotion” are not the only symbols of the traditional swordsmen film, and heroes are not omnipotent and perfect persons any more. The current 1. TSUI HARK’S IMAGINARY Chinese swordsmen film could best showcase this point, and is undergoing criticism and deconstruction. We can SWORDSMEN FILM see that a large number of Chinese directors such as Tsui Tsui Hark is a director who advocates whimsy thoughts Hark, Peter Chan, Xu Haofeng , and Wong Kar-Wai began and ridiculous ideas. He is always engaged in studying to re-examine the aesthetics and culture of swordsmen new film technology, indulging in creating new images and film after the wave of “historic costume blockbuster” in new forms of film, and continuing to provide audiences the mainland China. -
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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. -
“高罗佩与中国文化”国际学术研讨会the Dutch Mandarin
“” The Dutch Mandarin: Robert van Gulik’s place in contemporary Chinese Culture (Time)2013 4 20 April 20, 2013 (Location): 3 4 No.3+4 Meeting Room of Shanghai Normal University’s Conference Center ! 1" ! 2" TABLE OF CONTENT TABLE OF CONTENT ..................................................................................... 3! PARTICIPANTS INFORMATION ...................................................................... 5! ROBERT VAN GULIK NOW! PROGRAMME ........................................................................................ 5 FRIDAY 19TH OF APRIL - WELCOME ACTIVITIES .............................................................................. 6 SATURDAY 20TH OF APRIL - 8:30-18.00 INTERNATIONAL CONFERENCE ................................... 6 SUNDAY 21ST OF APRIL - 14:00-15:30 PUBLIC EVENT .................................................................... 7 SUNDAY 21ST OF APRIL - 17:00- 18:30 READING BY PAULINE VAN GULIK ................................... 7! INTERNATIONAL CONFERENCE PROGRAM .................................................. 9! THE DUTCH MANDARIN: ROBERT VAN GULIK’S PLACE IN CONTEMPORARY CHINESE CULTURE .............................................................................................................................................. 9 THE SPONSORS AND PARTNERS OF THE CONFERENCE ............................. 11! INTRODUCTION BY PRESIDENT OF SHANGHAI NORMAL UNIVERSITY ........ 13! INTRODUCTION BY THE CONSUL GENERAL OF THE NETHERLANDS .......... 14! INTRODUCTION BY PAULINE VAN GULIK -
Ancient-Style Prose Anthologies in Ming Dynasty (1368-1644) China
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 In The Eye Of The Selector: Ancient-Style Prose Anthologies In Ming Dynasty (1368-1644) China Timothy Robert Clifford University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian History Commons, and the Asian Studies Commons Recommended Citation Clifford, Timothy Robert, "In The Eye Of The Selector: Ancient-Style Prose Anthologies In Ming Dynasty (1368-1644) China" (2017). Publicly Accessible Penn Dissertations. 2234. https://repository.upenn.edu/edissertations/2234 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2234 For more information, please contact [email protected]. In The Eye Of The Selector: Ancient-Style Prose Anthologies In Ming Dynasty (1368-1644) China Abstract The rapid growth of woodblock printing in sixteenth-century China not only transformed wenzhang (“literature”) as a category of knowledge, it also transformed the communities in which knowledge of wenzhang circulated. Twentieth-century scholarship described this event as an expansion of the non-elite reading public coinciding with the ascent of vernacular fiction and performance literature over stagnant classical forms. Because this narrative was designed to serve as a native genealogy for the New Literature Movement, it overlooked the crucial role of guwen (“ancient-style prose,” a term which denoted the everyday style of classical prose used in both preparing for the civil service examinations as well as the social exchange of letters, gravestone inscriptions, and other occasional prose forms among the literati) in early modern literary culture. This dissertation revises that narrative by showing how a diverse range of social actors used anthologies of ancient-style prose to build new forms of literary knowledge and shape new literary publics. -
The “Pi & Lu” Poem Collection and Book
197 THE “PI & LU” POEM COLLECTION AND BOOK COLLECTION IN SUZHOU IN THE LATE-TANG DYNASTY Li Fubiao (Associate Professor of the Special Collection Department, Sun Yat-sen University Library, Guangzhou, China) ABSTRACT The Tang poetry corespondence between Mr. Pi Rixiu and Mr. Lu Guimeng in Suzhou in the Late-Tang dynasty is quite famous in literary history. The “Song Ling Ji (松倪古 Song Ling Poetry Collection)” is this Tang poetry collection, which was a correspondence and has been handed down since the Tang Dynasty. This poetry collection not only has the characteristics of a large quantity of poetry covering a wide range of topics and a completeness of stylistic approach with re- freshed styles, but it also has a theoretical summary and the distinguishing features of “Learning from the Poetry”. It also can be considered that this correspondence between the two learned scholars of poetry, Mr. Pi Rixiu and Mr. Lu Guimeng, reveals their close relationship with the rich book collection in the Suzhou area at that time. KEY WORDS Poetry Correspondence between Mr. Pi and Mr.Lu Mr. Pi Rixiu Mr. Lu Guimeng Scholar, Learned Suzhou’s Book Collection Book collecting is a cultural phenomenon, and it is like a distant source with a long stream. It is not only an outcome of cultural activities, but it is also the source of other cultural activities. The activity of coresponding through poetry among scholars depends especially on book collections. The following is a case study of a poetry correspondence between Mr. Pi Rixiu and Mr. Lu Guimeng in the Suzhou region in the 10–12th year of the Xian Tong Emperor Period of the Late-Tang Dynasty (869–71 A.D.). -
The Political Aspect of Misogynies in Late Qing Dynasty Crime Fiction
Journal of Literature and Art Studies, April 2016, Vol. 6, No. 4, 340-355 doi: 10.17265/2159-5836/2016.04.002 D DAVID PUBLISHING The Political Aspect of Misogynies in Late Qing Dynasty Crime Fiction Lavinia Benedetti University of Catania, Catania, Italy In most Chinese traditional court-case narrative, women often serve as negative social actors, and may even be the alleged cause of the degeneration of men’s morality as the result of their seductiveness. In the late Qing Dynasty novel Digong’an, centred on the upright official Digong, there is strong evidence of misogyny by the author. Two female characters stand out from the story: one kills her husband with the help of her lover, who is partially justified by the latter being under the woman’s negative influence; and the other is Empress Wu, to whom the moral downfall of the Tang Dynasty is attributed. Both women are subject to insult and threat throughout the novel. The author’s attitude substantially relies on the sexist rhetoric prevalent in the Confucian idea of an ordered society, which usually took a negative outlook towards women partaking in public life. But for the latter we should also take in account that at the end of the Qing Dynasty a woman was, in reality, ruling the empire “from behind the curtain”. Therefore, the purpose of this paper is to deconstruct the author’s misogyny, in order to shed a light on his criticism and connect it with a somewhat more political discourse. Keywords: Chinese courtcase novel, Digong’an, political criticism, Empress Cixi Introduction Crime and punishment are much appreciated themes in Chinese narrative production since its very beginning. -
Gushan: the Formation of a Chan Lineage During the Seventeenth Century and Its Spread to Taiwan
Gushan: the Formation of a Chan Lineage During the Seventeenth Century and Its Spread to Taiwan Hsuan-Li Wang Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Hsuan-Li Wang All rights reserved ABSTRACT Gushan: the Formation of a Chan Lineage During the Seventeenth Century and Its Spread to Taiwan Hsuan-Li Wang Taking Gushan 鼓山 Monastery in Fujian Province as a reference point, this dissertation investigates the formation of the Gushan Chan lineage in Fujian area and its later diffusion process to Taiwan. From the perspective of religion diffusion studies, this dissertation investigates the three stages of this process: 1. the displacement of Caodong 曹洞 Chan center to Fujian in the seventeenth century; 2. Chinese migration bringing Buddhism to Taiwan in the Qing dynasty (1644-1911) and 3. the expansion diffusion activities of the institutions and masters affiliated with this lineage in Taiwan during the Japanese rule (1895-1945), and the new developments of humanistic Buddhism (renjian fojiao 人間佛教) after 1949. In this spreading process of the Gushan Chan lineage, Taiwanese Buddhism has emerged as the bridge between Chinese and Japanese Buddhism because of its unique historical experiences. It is in the expansion diffusion activities of the Gushan Chan lineage in Taiwan that Taiwanese Buddhism has gradually attained autonomy during the Japanese rule, leading to post-war new developments in contemporary humanistic Buddhism. Table of Contents List of Chart, Maps and Tables iii Acknowledgements iv Chapter 1 Introduction 1 1. Research Motives and Goals 2 2. -
Canada Archives Canada Published Heritage Direction Du Branch Patrimoine De I'edition
WU ZETIAN'S CONTRIBUTION TO THE CULTURAL DEVELOPMENT OF THE TANG DYNASTY By Rui Wang A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © 2008 by Rui Wang Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-44981-3 Our file Notre reference ISBN: 978-0-494-44981-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
The Art of Calligraphy in Post-Mao China
ASIANetwork Exchange | spring 2012 | volume 19 | 2 Negotiating with the Past: The Art of Calligraphy in Post-Mao China Li-hua Ying Abstract: Chinese Calligraphy, an integrated form that combines language, art, phi- losophy, and poetry, was considered the highest art in traditional China. Although no longer used for daily communication, calligraphy manages to sustain its pres- ence in Chinese cultural life even in the computer age. The classical forms that were canonized nearly two millennia ago continue to command a large following while new styles and new practices have emerged in response to social, cultural and artistic influences. This paper looks at present trends in calligraphy and calligraphy- inspired practices against the backdrop of tradition. It is apparent that even within the most radical changes that have taken place, whether in the way calligraphy is practiced or evaluated, there are strong indications that the fundamental aesthetic principles passed down from the past are still very much alive today, showing the resilience of this ancient art. Keywords writing; art; calligraphy; language Chinese calligraphy, an integrated form that combines language, art, philosophy, and Li-hua Ying is an Associate Pro- poetry, was considered the highest art in traditional China, “the most fundamental artistic fessor in the Chinese and Japa- manifestation of the national mind.”1 Although no longer used for daily communication, nese Program at Bard College. calligraphy manages to sustain its presence in Chinese cultural life even in the computer age. The classical forms that were canonized nearly two millennia ago continue to com- mand a large following, while new styles and new practices have emerged in response to social, cultural, and artistic influences. -
The Statues and Monks of Shengshan Monastery: Money and Maitreyan Buddhism in Tang China
statues and monks of shengshansi chen jinhua The Statues and Monks of Shengshan Monastery: Money and Maitreyan Buddhism in Tang China .he ten-year period from 704 to 713 was perhaps one of the bloodi- T est, most volatile and eventful decades in the history of imperial China. There were at least five major court coups that produced jarring results. First was the abdication in 705 of empress Wu (r. 690–705; Wu Zhao ࣳ⸾ [623/625–705]) in favor of her son Zhong zong խࡲ (r. 684, 705–710). Empress Wu’s clan remained influential, however, because of an alliance that her nephew Wu Sansi ࣳԿ৸ (?–707) had shrewdly -one that in ,(710–?) ٿଁ fostered with Zhong zong’s empress née Wei cluded marriage ties between Sansi’s son and empress Wei’s daughter, ᑗ (?–707). Such webs created long-lasting feuds andڜ the princess Anle animosities that ensnared Wu’s family, the Tang royal Li family, and the families of court favorites and in-laws. For example, the empress’s two favorites, the brothers Zhang Yizhi ്࣐հ (676?–705) and Zhang Changzong ്࣑ࡲ (676?–705) were executed in 705; and in 707 the heir-apparent of Zhong zong had the empress’s nephew Wu Sansi killed. A daughter of empress Wu, princess Taiping ֜ؓ (?–713), supported by the subsequent heir-apparent Li Longji ޕၼഗ (685–762), the future ,ࡲ (r. 712–756), had empress Wei killed in 710. Eventuallyخ Xuanzong in 713, Taiping herself fell to a violent end at the hands of Longji. Scholars have exerted much energy in reconstructing the com- plicated political infighting during this ten-year period and in inter- preting the far-reaching implications. -
T the Semantic Shift of “Western Regions” and the Westward Extension of the “Border” in the Tang Dynasty
The Semantic Shift of “Western Regions” and the Westward Extension of the “Border” in the Tang Dynasty Rong Xinjiang and Wen Xin Traditionally, the term “Western Regions” could refer to two connected geographical regions. In its broader sense, it denotes the entire area west of Yumen Pass in Dunhuang; in its narrower sense, it includes only Southern and Eastern Xinjiang. Since the Han dynasty, the relations with the region covered by the narrower sense of the term have been of grave concern for regimes in China Proper. The Tang dynasty was the most daring in its dealings with the “Western Regions”, ruling over this area for an extended period of time and exerting considerable influence over local societies. Additionally, we also possess for the period of Tang rule some of the richest historical data regarding this area and, with the help of excavated texts, many details of the Tang rule have been clarified. Based on such empirical research, scholars such as Zhang Guangda also asked broader questions of the nature of Tang rule. He suggested that “the Tang began [its westward expansion] with the conquest of Xi Prefecture (Turfan), and after a century, by the mid-8th century, a type of Han/Non-Han dual governance has developed in areas beyond Xi Prefecture (meaning mostly the Four Garrisons)”.[1] Wang Xiaofu further explained the nature of this dual governance: “In the Four Garrisons of the Tang, there existed a form of governance between the prefecture-county system and the vassal kingdoms. Only in the Four Garrisons do we see the real manifestation of dual Eurasian Studies ( Volume III ) governance”.[2] Clearly, scholars have noticed the exceptional status of the Four Garrisons region in the Tang government: under the Han/Non-Han dual governance, the Four Garrisons region exhibited different features from regular “loose-rein” regions.