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Hong Kong SAR
China Data Supplement November 2006 J People’s Republic of China J Hong Kong SAR J Macau SAR J Taiwan ISSN 0943-7533 China aktuell Data Supplement – PRC, Hong Kong SAR, Macau SAR, Taiwan 1 Contents The Main National Leadership of the PRC 2 LIU Jen-Kai The Main Provincial Leadership of the PRC 30 LIU Jen-Kai Data on Changes in PRC Main Leadership 37 LIU Jen-Kai PRC Agreements with Foreign Countries 47 LIU Jen-Kai PRC Laws and Regulations 50 LIU Jen-Kai Hong Kong SAR 54 Political, Social and Economic Data LIU Jen-Kai Macau SAR 61 Political, Social and Economic Data LIU Jen-Kai Taiwan 65 Political, Social and Economic Data LIU Jen-Kai ISSN 0943-7533 All information given here is derived from generally accessible sources. Publisher/Distributor: GIGA Institute of Asian Affairs Rothenbaumchaussee 32 20148 Hamburg Germany Phone: +49 (0 40) 42 88 74-0 Fax: +49 (040) 4107945 2 November 2006 The Main National Leadership of the PRC LIU Jen-Kai Abbreviations and Explanatory Notes CCP CC Chinese Communist Party Central Committee CCa Central Committee, alternate member CCm Central Committee, member CCSm Central Committee Secretariat, member PBa Politburo, alternate member PBm Politburo, member Cdr. Commander Chp. Chairperson CPPCC Chinese People’s Political Consultative Conference CYL Communist Youth League Dep. P.C. Deputy Political Commissar Dir. Director exec. executive f female Gen.Man. General Manager Gen.Sec. General Secretary Hon.Chp. Honorary Chairperson H.V.-Chp. Honorary Vice-Chairperson MPC Municipal People’s Congress NPC National People’s Congress PCC Political Consultative Conference PLA People’s Liberation Army Pol.Com. -
Mirror, Moon, and Memory in Eighth-Century China: from Dragon Pond to Lunar Palace
EUGENE Y. WANG Mirror, Moon, and Memory in Eighth-Century China: From Dragon Pond to Lunar Palace Why the Flight-to-the-Moon The Bard’s one-time felicitous phrasing of a shrewd observation has by now fossilized into a commonplace: that one may “hold, as ’twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.”1 Likewise deeply rooted in Chinese discourse, the same analogy has endured since antiquity.2 As a commonplace, it is true and does not merit renewed attention. When presented with a physical mirror from the past that does register its time, however, we realize that the mirroring or showing promised by such a wisdom is not something we can take for granted. The mirror does not show its time, at least not in a straightforward way. It in fact veils, disfi gures, and ultimately sublimates the historical reality it purports to refl ect. A case in point is the scene on an eighth-century Chinese mirror (fi g. 1). It shows, at the bottom, a dragon strutting or prancing over a pond. A pair of birds, each holding a knot of ribbon in its beak, fl ies toward a small sphere at the top. Inside the circle is a tree fl anked by a hare on the left and a toad on the right. So, what is the design all about? A quick iconographic exposition seems to be in order. To begin, the small sphere refers to the moon. -
International Interdisciplinary Conference on Middle Period
[CONFERENCE ON MIDDLE PERIOD CHINA, 800-1400 | 九至十五世紀的中國會議] 1 Thursday June 5, 2014 8:00AM-9:00AM Conference Registration CGIS South, 1st Floor Lobby 9:00AM-10:30AM Opening Plenary Session CGIS South, Tsai Auditorium 10:30AM-11:00AM Coffee Break CGIS South, Concourse 11:00AM-1:00PM Time Period Panels 1. Ninth Century CGIS South, S001 Discussion facilitator: Christopher Nugent (Williams College) 2. Eleventh Century CGIS South, S020 Belfer Discussion facilitator: Heping Liu (Wellesley College) 3. Liao and Xia CGIS South, S050 Discussion facilitator: Nancy Steinhardt (University of Pennsylvania) 4. Southern Song CGIS South, Tsai Auditorium Discussion facilitators: Linda Walton (Portland State University) and Michael Fuller (UC Irvine) 5. Early Ming CGIS South, S040 Discussion facilitator: Alfreda J. Murck (Independent Scholar) 1:00PM-2:00PM Lunch CGIS South, Concourse Sponsored by the Department of East Asian Languages and Civilizations, Harvard University [CONFERENCE ON MIDDLE PERIOD CHINA, 800-1400 | 九至十五世紀的中國會議] 2 2:00PM-4:00PM Time Period Panels 6. Tenth Century CGIS South, S040 Discussion facilitator: Hugh Roberts Clark (Ursinus College) 7. Twelfth Century CGIS South, S050 Discussion facilitator: Morten Schlütter (University of Iowa) 8. Jin-Yuan CGIS South, S020 Belfer Discussion facilitator: Christopher Pratt Atwood (Indiana University) 9. Fourteenth Century CGIS South, S001 Discussion facilitator: Joseph Peter McDermott (University of Cambridge) 10. Northern Song CGIS South, Tsai Auditorium Discussion facilitators: Patricia Ebrey (University of Washington) and Cong Ellen Zhang (University of Virginia) 4:00 PM-4:30PM Coffee Break CGIS South, Concourse 4:30PM-6:00PM Theme Panels 11. Material and Visual Culture CGIS South, S020 Belfer Discussion facilitators: Maggie Bickford (Brown University) and Julia K. -
A Required Taste
Tea Classics A Required Taste Tea Culture Among 16th Century Literary Circles as Seen Through the Paintings of Wen Zhengming 一 個 茶人: Michelle Huang 必 修 Some of the authors we are translating in this issue are very 品 well known to Chinese scholars and laymen alike. And even 味 if these specific authors weren’t known to a Chinese reader, 文 they at least would have studied enough Chinese history to contextualize these works in the Ming Dynasty: its culture, 徵 art and politics. Also, we only got to read parts of Wen’s 明 “Superfluous Things,” those having to do with tea, so this -ar 的 ticle on his life and times by our local Chinese art historian, Michelle, who has contributed to many past issues of Global 畫 Tea Hut, can help us all to construct a bit of Ming China in our imaginations and thereby enrich our reading of the texts. en Zhengming 文徵明 tivity for literary figures since the dawn most other gentlemen to work on his W (1470–1559) was a of civilization, the booming economy art and tea-related research. He wrote a famous artist in the late and the increasing availability of pub- systematic commentary on an existing Ming Dynasty in Suzhou, which was lic transportation since the 15th centu- work, the Record of Tea by Cai Xiang a hot spot for literary figures. He came ry in China made it easier for people (1012–1067),3 which was titled Com- from a family of generations of officials to travel longer distances. -
A Bibliography of English Language Sources, 1977-1986, on the Five Dynasties, Liao, Sung, Hsi-Hsia
" BIHNIISmU.. Ame D. , "ShiIIO Y\n;I an:!. His Ocnoapt or hn JbM, • .Jq.ttm! or Ch1pM Al \l95Q'by 11: 4 (Dec 82), 367-394. m.o:::t!, InIne, "Q'I the Matter the K1n::l.: 'lh8 MBtaphy&ical BMia ArDIS, Sir J. M. of ort:he ~ Milterlals. NY, Rlilip wilJrcn PI.:hliBhan, 1978. Selr," w. 293-330, in D<:lnal.d J. M.Inro, ed., IrRiyjrl"al1a and Hol!ai S!:ud,ig --, ~ and lOOlin, labl 'iUan ~ at Wtian,· in QmfIriaD NIl 'DIg'S vall_. (M:i.ctligM ~ in 0\1neae Sb.dies, nwert1qe or the orltrJtal pmmic Sg;;iot;y (l.oodcn) 45 (1980-1), 54-66. No.52), Am 1U.1xr: oantar tor 0Unese St1d1., 'Ibs lAwersity ot K1ctW)an, mm, J9SI!llh A. Divination and ihiJ.osqlhy' 0lU lisPs ~ or the 1- 1985. d\in;J. Al.D. diu., tlniVlmtity of california, 1984. 00, Shang, MAfteJ:" the 1tInt," Chir«. Litm3!tw]t, J\lly 1981, 129-130. ~, ~ W., .Q:Intucian GEntl--. am J.&'ric Poet, RcIIINlticiBm and Enlti.clsll in OCOV\N, RictIard W.. MA 8J.blicqrap,;y ot RI!IOent Art.icl. on the S\n;J and 'iIlan Periods the TZ'U ot ru-yarq Hsiu,. Baglitigrw 11 " U (SpdJ"q " ~ 1979), Ul-142. in Nainl.and 0Unar0e JoorMI..,. IW1ctin of SUrp-'tlian stut!ffl 14 (1978), J>JJ.Et, ~ (tran8). S!rla:;;t.4IJ fpmi or the 'I'M&! orrl sq-g DmiI!itJ.M. 11K, Kai Ffn9 90-103. PIml1shin:;J Co., 1981. OOL, ~ Keea. O1l.bmI and the *Y in ElflWflth ~ O\ire. -
Four Great Inventions of China Many of the Greatest Inventions in Human History Were First Made in China
History Topic of the Month Four Great Inventions of China Many of the greatest inventions in human history were first made in China. By the 13th century, China was an innovative and exciting place to live. Travellers from Europe discovered things there that were beyond imagination in Europe. When the explorer Marco Polo arrived in China, he encountered a Contributer: © Patrick Guenette / 123rf country vastly different from his home of Venice. In his book, The Travels of Marco Polo, Polo describes cities Cai Lun (AD c.57 – 121), was a Chinese courtier official. He is believed to with broad, straight and clean streets (very different from his be the inventor of paper and the home in Venice) where even the poorest people could wash papermaking process, discovering in great bath houses at least three time a week (again very techniques that created paper as we different from hygiene in Europe). would recognise it today. China celebrates four particular innovations as “the Four Great Inventions” — they were even featured as a part of the opening ceremony for the 2008 Beijing Olympic Games. So, what were these four great inventions? Writing it all down: Paper The first of the great inventions was something we all use almost every day: paper. Many different materials had been used for writing things down, like bamboo, wood (both hard to store and write on) or silk and cloth (much more expensive). Types of paper have been found in archaeological records dating back thousands of years, but it was very difficult to make. It wasn’t until AD c.105 that a quick and easy way of making paper was invented. -
Song Dynasty (960 ‐ 1279)
SONG DYNASTY (960 ‐ 1279) The Song Dynasty was the ruling dynasty in China between 960 and 1279; it succeeded the Five Dynasties and Ten Kingdoms Period, and was followed by the Yuan Dynasty. It was the first government in world history to issue banknotes or paper money, and the first Chinese government to establish a permanent standing navy. This dynasty also saw the first known use of gunpowder, as well as the first discernment of true north using a compass. The Song Dynasty is divided into two distinct periods: the Northern Song and Southern Song. During the Northern Song (960–1127), the Song capital was in the northern city of Bianjing (now Kaifeng) and the dynasty controlled most of inner China. The Southern Song refers to the period after the Song lost control of northern China to the Jin Dynasty. During this time, the Song court retreated south of the Yangtze River and established their capital at Lin'an (now Hangzhou). Although the Song Dynasty had lost control of the traditional birthplace of Chinese civilization along the Yellow River, the Song economy was not in ruins, as the Southern Song Empire contained some 60 percent of China's population and a majority of the most productive agricultural land. The Southern Song Dynasty considerably bolstered its naval strength to defend its waters and land borders and to conduct maritime missions abroad. To repel the Jin, and later the Mongols, the Song developed revolutionary new military technology augmented by the use of gunpowder. In 1234, the Jin Dynasty was conquered by the Mongols, who took control of northern China, maintaining uneasy relations with the Southern Song. -
The Final Chapter of This Thesis Is a Case Study of the Late Twelfth to Early Thirteenth Century Court Artist Turned Eccentric Painter Liang Kai 梁楷
CHAPTER SIX LIANG KAI: INCARNATIONS OF A MASTER The final chapter of this thesis is a case study of the late twelfth to early thirteenth century court artist turned eccentric painter Liang Kai 梁楷. Following the preceding chapters’ examinations of the agency of narrative themes and clerical inscription in the reception of Chan figure paintings, the ensuing analysis explores the agency of the ideal of the artist. Liang has come to embody two distinctive ideals. One is of Liang as an expressive and eccentric creator of Chan images, depicting wild and heterodox subjects in brush modes that challenged accepted conventions of painting practice. Extant works of this type are, for the most part, preserved in Japanese collections (figs. 6.1-6.2).422 The second Liang Kai is a master of careful and meticulous depiction, who was admired by his court painter contemporaries for his ‘exquisite brush’ (Chinese: jingmei zhi bi 精美之筆).423 The majority of Liang Kai’s attributions that embody this ideal have been preserved through Chinese collections (fig. 6.3).424 This chapter problematises Liang Kai’s dichotomous reception as either an eccentric drunken genius, or a superlative court draughtsman, through the critical examination of his historic reception in both China and Japan. The ensuing discussion will illustrate the construction and augmentation of Liang’s distinctive images in his Chinese and Japanese transmissions, based on analyses of extant works attributed to Liang Kai, and of historic texts on Liang’s artistic practice and oeuvre. This approach aims to reveal the complex overlap and interplay of Liang’s supposedly distinctive cursive and meticulous modes of brushwork. -
Table of Contents
TABLE OF CONTENTS Acknowledgments . .vii Unit Introduction: CHINESE DYNASTIES, PART TWO: THE SONG DYNASTY THROUGH THE QING DYNASTY, 960 TO 1911 . .1 Rationale and Introduction to Lessons . .1 Unit Goals . .3 Connections to Curriculum Standards . .3 Materials . .8 Equipment . .8 Time, Suggested Sequence of Activities . .8 Subjects, Suggested Grade Levels . .8 Lesson One: THE SONG DYNASTY, 960 TO 1279 . .9 Handouts 1A: The Song Dynasty (960–1279) . .19 1B: Song Dynasty Timeline and Flowchart . .20 2A: Taizu and Taizong . .22 2B: Huizong and the Loss of Northern China . .24 2C: Zhu Xi and Neo-Confucianism . .26 2D: Su Dongpo . .28 2E: Shen Kuo . .30 2F: Wang Anshi . .32 3: Interview Activity . .34 4: Map of the Song Dynasty . .35 5: Notes on People of the Song Dynasty . .36 6A: Wang Anshi’s Memorial to Emperor Renzong (1058) . .38 6B: Task Based on Wang Anshi’s Memorial . .40 7: Scroll Descriptions . .41 8: The Song City . .42 9: Scroll Activity (Optional) . .45 Transparencies 1: Initial Questions . .46 2: Questions about Cities . .47 Teacher Information 1: Interview Questions and Answers . .48 2: Image Descriptions . .49 Answer Keys 1: Song Dynasty Timeline and Flowchart . .51 2: Questions about Wang Anshi . .53 Lesson Two: THE YUAN DYNASTY, 1279 TO 1368 . .55 Handouts 1A: The Mongol Empire . .66 1B: Yuan Dynasty Map and Timeline . .71 2: Yuan Dynasty Image Worksheet . .73 CHINESE DYNASTIES PART TWO iii table of contents 3: Readers’ Theater . .75 4A: Yuan Drama . .81 4B: The Soul of Qian Nü Leaves her Body (Excerpt) . .83 4C: Creating a Yuan-style Drama . .89 5A: The Rise of Khubilai Khan and His Struggle for Legitimacy . -
Eight Views of the Xiao and Xiang
1 College of Arts at the University of Canterbury Art History and Theory in the School of Humanities ARTH 690 Masters Thesis Title of Thesis: The Eight Views: from its origin in the Xiao and Xiang rivers to Hiroshige. Jennifer Baker Senior Supervisor: Dr. Richard Bullen (University of Canterbury). Co-Supervisor: Dr. Rachel Payne (University of Canterbury). Thesis Start Registration Date: 01 March 2009. Thesis Completion Date: 28 February 2010. Word Count: 30, 889. 2 Abstract This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Andô Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics. -
UC GAIA Chen Schaberg CS5.5-Text.Indd
Idle Talk New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. Joan Judge and Hu Ying, eds., Beyond Exemplar Tales: Women’s Biography in Chinese History 2. David A. Palmer and Xun Liu, eds., Daoism in the Twentieth Century: Between Eternity and Modernity 3. Joshua A. Fogel, ed., The Role of Japan in Modern Chinese Art 4. Thomas S. Mullaney, James Leibold, Stéphane Gros, and Eric Vanden Bussche, eds., Critical Han Studies: The History, Representation, and Identity of China’s Majority 5. Jack W. Chen and David Schaberg, eds., Idle Talk: Gossip and Anecdote in Traditional China Idle Talk Gossip and Anecdote in Traditional China edited by Jack w. cheN aNd david schaberg Global, Area, and International Archive University of California Press berkeley los Angeles loNdoN The Global, Area, and International Archive (GAIA) is an initiative of the Institute of International Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. -
The Reunification of China: Peace Through War Under the Song Dynasty Peter Lorge Index More Information
Cambridge University Press 978-1-107-08475-9 - The Reunification of China: Peace through War under the Song Dynasty Peter Lorge Index More information Index Alexander the Great, 281 Changzhou, 82 An Lushan Rebellion, 41 Chanyuan, 4, 6–7, 9, 11–12, 15, 17–20, Ancestral Rules, 38 153, 238–9, 244–5, 247, 262–4, Anguozhen, 235 266–75, 277, 286 Anyang River, 99 Chanyuan Covenant, 4, 6–7, 9, 11, 15, 18–20, autumn defense, 256, 262 30–3, 41, 43, 225, 238–9, 244–5, 247, 269–70, 272–5, 277 Bagongyuan, 51 Chen Feng, 38–9 Bai Jiyun, 233 Chen Hongjin, 190 Bai River, 204 Chen Qiao, 173, 176 Bai Zhongzan, 51 Chen Shiqing, 230 Baidimiao, 145 Chen Yaosou, 264 Baigou River, 217 Chengdu, 146, 225, 227–32, 234 Baitian, 161 Chengtian, 18 Baozhou, 245, 265 Chengzhou, 63 Battle of Gaoping, 32, 38, 48, 71, 100 Chiang Kai-shek, 35 Battle of Wangdu, 257 Chinese Ways in War,41 Bazhou, 231 Chizhou, 170–1 Beiping Fort, 265 Chu, 119, 121–4, 126, 128, 131, Beizhou, 266 236, 265 Bi Shi’an, 264 Chu Zhaofu, 166–7 Bian Canal, 92 Chuzhou, 79, 84, 93 Bian Hao, 89 Cizhou, 50 Bian River, 90–1, 98 Clausewitz, 271 Biankou, 95 Comprehensive Mirror Bozhou, 221 Comprehensive Mirror for Aid in Governing, 26–8, 34 Cai River, 118 Caishi, 168, 172, 175 Dahui Fort, 109 Caishiji, 171 Daizhou, 60, 219, 221 Cangzhou, 98, 244 Daming, 156, 197 Cao Bin, 137, 145–6, 149, 169–72, Damingfu, 197 174–5, 179, 186, 190, 193, 208–9, Dangtu, 171 214–19 David Curtis Wright, 42, 272, 274, 276 Cao Han, 87, 179, 203 Davis, Richard, 31, 40 Cao Keming, 226 Dechong, 209 Cao Liyong, 268–9, 271 Defang, 182–3,