HISTORY and GOVERNMENT an Outline of History Before 1949

Total Page:16

File Type:pdf, Size:1020Kb

HISTORY and GOVERNMENT an Outline of History Before 1949 CHAPTER TWO HISTORY AND GOVERNMENT An Outline of History before 1949 Commoners believe in ghosts and gods, and always in the fi ft h month, when ploughing and planting are fi nished, gather together singing and dancing to sacrifi ce to the gods. In the tenth month, when agricultural work is done, they do the same. (Biography of Ma Han, Jin shu (History of the Jin Dynasty), 266−316 ce, zhuan 97, edited between 646−648 ce). Local community religion in China not only has its own forms of organi- zation, leadership and rituals, but also has its own history, a history that in many cases goes back several hundreds years. However, the sources for understanding that history are sparse and scattered, because such activities have been considered unworthy of recording and studying. Particularly before the Ming period (1368–1644) the sources for com- munity rituals in north China do not permit the writing of a connected history; the best one can do is cite the evidence that is available to sug- gest what might have been going on in the light of later developments. Here I fi rst summarize what I have learned about community rituals before the Song period (960–1279), then note the new developments in that period that set the stage for what followed, and refer to new government policies for local communities in the early Ming that infl u- enced rituals carried out by the people. Th e second part of this section is a summary of government regulations for local rituals. Th is historical outline focuses on evidence from the north, but for the Song period almost all we know is about the south and east, during the period when the court was moved south to Hangzhou in Zhejiang Province (1127–1279) aft er the old capital of Kaifeng in the north was lost to the Jurchen. During this Southern Song period China entered a new phase of growth in population and economic and cultural vitality, with increased literacy and publication, so that most of our information about this period comes from the south. A major problem for investi- gating the history of local religion in this period is that most scholars who do discuss it mix data from diff erent places, with only scattered references to the north. Th e result is a geographical hodge-podge that is at best organized only by time, not by space. For the period following history and government 33 the seventeenth century I discuss history in the context of descriptions of local temples and rituals. A related topic is the veneration in the north of ancient deities attested to in pre-Han sources, deities such as Nüwa, Fuxi and Shennong, the legendary founder of agriculture and herbal medicine. In some instances these gods were worshiped at places believed to be where they origi- nated, with indications of grottoes, temples and festivals for them, some of which continue to exist or have been revived. Of course, these gods were worshiped elsewhere in China as well, though perhaps not with the same sense of original geographical location. Because cults of these deities are enveloped in legend, local pride of place and later revivals and reconstructions, this is a tricky topic that I enter with a sense of diffi dence but nonetheless think is worth noting, so long as I stick to the details of what I have learned. Th e earliest evidence for these cults that I have found is from Henan and Hebei, modern provinces in the areas of old states going back to the Spring and Autumn and Warring States periods of the mid- to late Zhou dynasty (722–481 and 403–221 bce). In myths about the goddess Nüwa that appear as early as the fourth century bce, she is portrayed as the fashioner of human beings and as having propped up a pillar of heaven that had been knocked askew. Th ere is a tomb for her in Xihua County of Henan, near ‘Nüwa City’, which is now the name of villages in this area. Th ere are still festivals celebrated by Nüwa’s tomb on lunar 12/17–23 and 1/2–20; during these periods the special days are her birthday on 12/21 and the day she repaired heaven on 1/15. At this festival there are food off erings, scripture recitation, banners and the off ering of incense and prayers for such blessings as the birth of sons, marriage, good harvests and prosperity, with answered prayers repaid with songs sung to the goddess while her worshipers prostrate them- selves. Th ese activities are similar to others practiced elsewhere since at least the Qing period, but I have no evidence as to how old they are here; at least a memory of the goddess is still alive. However, there are Song records of a Nüwa City, which has recently been excavated, with the discovery of implements and vessels from the Spring and Autumn period. At Taihao Ling in Huaiyang County, another place in Henan, there is a grotto and a temple dedicated to Nüwa. At the grotto, called ‘Descendants Grotto’, women seeking sons worship and rub its gate. A festival for the goddess is carried out at the temple from 2/2 to 3/3, with people attending from the whole surrounding area. We are told that at this festival a ‘primitive dance’ is carried out for a whole day .
Recommended publications
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Ancient Emaki "Genesis" Exploration and Practice of Emaki Art Expression Tong Zhang Digital Media and Design Arts College Beijing University of Posts and Telecommunications Beijing, China 100876 Abstract—The ancient myths and legends with distinctive generation creators such as A Gen, sheep and others, and a Chinese characteristics, refers to myths and legends from dedicated serial picture book magazine "Paint Heart", Chinese Xia Dynasty until ancient times, it carries the origin of "STORY" appears, the delicate picture and vivid story make Chinese culture and it is the foundation of the Chinese nation, it Chinese picture book also developing rapidly and has formed a influence the formation and its characteristics of the national national reading faction craze for outstanding picture books. spirit to a large extent. The study explore and practice the art expression which combines ancient culture with full visual 1) Picture book traced back to ancient Chinese Emaki: impact Emaki form, learn traditional Chinese painting China has experienced a few stages include ancient Emaki, techniques and design elements, and strive to make a perfect illustrated book in Republican period and modern picture performance for the magnificent majestic ancient myth with a books. "Picture book", although the term originated in Japan, long Emaki. It provides a fresh visual experience to the readers and promotes the Chinese traditional culture, with a certain but early traceable picture books is in China. In Heian research value. Kamakura Period Japanese brought Buddhist scriptures (Variable graph), Emaki (Lotus Sutra) and other religious Keywords—ancient myths; Emaki form; Chinese element Scriptures as picture books back to Japan, until the end of Middle Ages Emaki had developed into Nara picture books.
    [Show full text]
  • Yin-Yang, the Five Phases (Wu-Xing), and the Yijing 陰陽 / 五行 / 易經
    Yin-yang, the Five Phases (wu-xing), and the Yijing 陰陽 / 五行 / 易經 In the Yijing, yang is represented by a solid line ( ) and yin by a broken line ( ); these are called the "Two Modes" (liang yi 兩義). The figure above depicts the yin-yang cycle mapped as a day. This can be divided into four stages, each corresponding to one of the "Four Images" (si xiang 四象) of the Yijing: 1. young yang (in this case midnight to 6 a.m.): unchanging yang 2. mature yang (6 a.m. to noon): changing yang 3. young yin (noon to 6 p.m.): unchanging yin 4. mature yin (6 p.m. to midnight): changing yin These four stages of changes in turn correspond to four of the Five Phases (wu xing), with the fifth one (earth) corresponding to the perfect balance of yin and yang: | yang | yin | | fire | water | Mature| |earth | | | wood | metal | Young | | | Combining the above two patterns yields the "generating cycle" (below left) of the Five Phases: Combining yin and yang in three-line diagrams yields the "Eight Trigrams" (ba gua 八卦) of the Yijing: Qian Dui Li Zhen Sun Kan Gen Kun (Heaven) (Lake) (Fire) (Thunder) (Wind) (Water) (Mountain) (Earth) 0 1 2 3 4 5 6 7 The Eight Trigrams can also be mapped against the yin-yang cycle, represented below as the famous Taiji (Supreme Polarity) Diagram (taijitu 太極圖): This also reflects a binary numbering system. If the solid (yang) line is assigned the value of 0 and the broken (yin) line is 1, the Eight Trigram can be arranged to represent the numbers 0 through 7.
    [Show full text]
  • Transmission of Han Pictorial Motifs Into the Western Periphery: Fuxi and Nüwa in the Wei-Jin Mural Tombs in the Hexi Corridor*8
    DOI: 10.4312/as.2019.7.2.47-86 47 Transmission of Han Pictorial Motifs into the Western Periphery: Fuxi and Nüwa in the Wei-Jin Mural Tombs in the Hexi Corridor*8 ∗∗ Nataša VAMPELJ SUHADOLNIK 9 Abstract This paper examines the ways in which Fuxi and Nüwa were depicted inside the mu- ral tombs of the Wei-Jin dynasties along the Hexi Corridor as compared to their Han counterparts from the Central Plains. Pursuing typological, stylistic, and iconographic approaches, it investigates how the western periphery inherited the knowledge of the divine pair and further discusses the transition of the iconographic and stylistic design of both deities from the Han (206 BCE–220 CE) to the Wei and Western Jin dynasties (220–316). Furthermore, examining the origins of the migrants on the basis of historical records, it also attempts to discuss the possible regional connections and migration from different parts of the Chinese central territory to the western periphery. On the basis of these approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern formed by an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs. Key Words: Fuxi, Nüwa, the sun, the moon, a try square, a pair of compasses, Han Dynasty, Wei-Jin period, Shandong, migration Prenos slikovnih motivov na zahodno periferijo: Fuxi in Nüwa v grobnicah s poslikavo iz obdobja Wei Jin na območju prehoda Hexi Izvleček Pričujoči prispevek v primerjalni perspektivi obravnava upodobitev Fuxija in Nüwe v grobnicah s poslikavo iz časa dinastij Wei in Zahodni Jin (220–316) iz province Gansu * The author acknowledges the financial support of the Slovenian Research Agency (ARRS) in the framework of the research core funding Asian languages and Cultures (P6-0243).
    [Show full text]
  • The Heritage of Non-Theistic Belief in China
    The Heritage of Non-theistic Belief in China Joseph A. Adler Kenyon College Presented to the international conference, "Toward a Reasonable World: The Heritage of Western Humanism, Skepticism, and Freethought" (San Diego, September 2011) Naturalism and humanism have long histories in China, side-by-side with a long history of theistic belief. In this paper I will first sketch the early naturalistic and humanistic traditions in Chinese thought. I will then focus on the synthesis of these perspectives in Neo-Confucian religious thought. I will argue that these forms of non-theistic belief should be considered aspects of Chinese religion, not a separate realm of philosophy. Confucianism, in other words, is a fully religious humanism, not a "secular humanism." The religion of China has traditionally been characterized as having three major strands, the "three religions" (literally "three teachings" or san jiao) of Confucianism, Daoism, and Buddhism. Buddhism, of course, originated in India in the 5th century BCE and first began to take root in China in the 1st century CE, so in terms of early Chinese thought it is something of a latecomer. Confucianism and Daoism began to take shape between the 5th and 3rd centuries BCE. But these traditions developed in the context of Chinese "popular religion" (also called folk religion or local religion), which may be considered a fourth strand of Chinese religion. And until the early 20th century there was yet a fifth: state religion, or the "state cult," which had close relations very early with both Daoism and Confucianism, but after the 2nd century BCE became associated primarily (but loosely) with Confucianism.
    [Show full text]
  • Official Colours of Chinese Regimes: a Panchronic Philological Study with Historical Accounts of China
    TRAMES, 2012, 16(66/61), 3, 237–285 OFFICIAL COLOURS OF CHINESE REGIMES: A PANCHRONIC PHILOLOGICAL STUDY WITH HISTORICAL ACCOUNTS OF CHINA Jingyi Gao Institute of the Estonian Language, University of Tartu, and Tallinn University Abstract. The paper reports a panchronic philological study on the official colours of Chinese regimes. The historical accounts of the Chinese regimes are introduced. The official colours are summarised with philological references of archaic texts. Remarkably, it has been suggested that the official colours of the most ancient regimes should be the three primitive colours: (1) white-yellow, (2) black-grue yellow, and (3) red-yellow, instead of the simple colours. There were inconsistent historical records on the official colours of the most ancient regimes because the composite colour categories had been split. It has solved the historical problem with the linguistic theory of composite colour categories. Besides, it is concluded how the official colours were determined: At first, the official colour might be naturally determined according to the substance of the ruling population. There might be three groups of people in the Far East. (1) The developed hunter gatherers with livestock preferred the white-yellow colour of milk. (2) The farmers preferred the red-yellow colour of sun and fire. (3) The herders preferred the black-grue-yellow colour of water bodies. Later, after the Han-Chinese consolidation, the official colour could be politically determined according to the main property of the five elements in Sino-metaphysics. The red colour has been predominate in China for many reasons. Keywords: colour symbolism, official colours, national colours, five elements, philology, Chinese history, Chinese language, etymology, basic colour terms DOI: 10.3176/tr.2012.3.03 1.
    [Show full text]
  • The Daoist Tradition Also Available from Bloomsbury
    The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1.
    [Show full text]
  • Terms and Expressions
    1 TERMS AND EXPRESSIONS an (at peace, security, settled) 安 an (case, record, table) 案 ba chungua 八純卦 bagong 八宮 bagong gua 八宮卦 bagua 八卦 Bagua fangwei tu 八卦方位圖 bagua xiangzuo zhi yong 八卦相錯之用 Bagua zhang 八卦掌 bagua zhi gong 八卦之宮 banxiang 半象 bao gua (aka baoti) 包卦 baoti 包體 bazi 八字 bei (back) 背 bei (north) 北 ben 本 bengua 本卦 benwen 本文 bi 比 bian 變 bianben jiali 變本加厲 biangua 變卦 bianhua (change) 變化 bianhua zhi dao 變化之道 bianli 變例 bianyao 變爻 bianyi (change) 變易 bianyi (distinguishing the doubtful) 辨疑 bieji 別集 bigua 辟卦 (aka jungua) biji 筆記 bili 比例 bingzhan 兵占 Bo (Earl) 伯 boza 駁雜 bu (divine) 卜 bu dangwei 不當位 buli 不利 2 bu qie shi 不切事 bu zhu yi shuo 不主一說 buce 不測 bujing 卜經 buling 不靈 busheng 不生 bushi 卜筮 bushi qi zheng 不失其正 bushi zhi shu 卜筮之數 bushou 部首 butan 不談 buyi 不易 buzhen 不真 cai (talent) 才 cai (material) 材 caizi jiaren 才子佳人 cangwang 藏往 Canlong 蒼龍 ce (fathomings) 測 ce (pained) 惻 cezi 測字 cha (discrepancies) 差 cha (examine) 察 chaizi 拆字 chalai 察來 Chan (Buddhism) 禪 chan (meditation) 禪 chang 場 changyan (usual talk) 常言 chanwei (see chenwei) chen (zodiacal space) 辰 cheng (sincerity) 誠 chengfang 乘方 chenwei 讖緯 chenwei zhi shuo 讖緯之説 chenyao 讖謠 chi 尺 chu 出 chuan (tradition) 傳 chuilian tingzheng 垂簾聽政 chulei 觸纇 3 chun (pure) 純 (also 醇 and 淳) chun (spring) 春 chun shi 醇實 chun shi buzhi 淳實不支 chungua 純卦 chunzheng 醇正 ci 辭 cili 辭例 cun (inch) 寸 cunmu 存目 cunwang 存亡 cuogua 錯卦 cuozong 錯綜 cuozong qi shu 錯綜其數 dacheng 大成 dafu (grand masters) 大夫 Dahe 大和 dangwei 當位 danjue 丹訣 dantian 丹田 Dao 道 Daojia lei 道家纇 Daoqi 道器 Daozang 道藏 daren 大人 dashi 達識 datong 大通 Daxian xu Yi 大賢需易 daxiang
    [Show full text]
  • Indo-Europeans in the Ancient Yellow River Valley
    SINO-PLATONIC PAPERS Number 311 April, 2021 Indo-Europeans in the Ancient Yellow River Valley by Shaun C. R. Ramsden 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 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 for peer review, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. We do, however, strongly recommend that prospective authors consult our style guidelines at www.sino-platonic.org/stylesheet.doc.
    [Show full text]
  • Handbook of Chinese Mythology TITLES in ABC-CLIO’S Handbooks of World Mythology
    Handbook of Chinese Mythology TITLES IN ABC-CLIO’s Handbooks of World Mythology Handbook of Arab Mythology, Hasan El-Shamy Handbook of Celtic Mythology, Joseph Falaky Nagy Handbook of Classical Mythology, William Hansen Handbook of Egyptian Mythology, Geraldine Pinch Handbook of Hindu Mythology, George Williams Handbook of Inca Mythology, Catherine Allen Handbook of Japanese Mythology, Michael Ashkenazi Handbook of Native American Mythology, Dawn Bastian and Judy Mitchell Handbook of Norse Mythology, John Lindow Handbook of Polynesian Mythology, Robert D. Craig HANDBOOKS OF WORLD MYTHOLOGY Handbook of Chinese Mythology Lihui Yang and Deming An, with Jessica Anderson Turner Santa Barbara, California • Denver, Colorado • Oxford, England Copyright © 2005 by Lihui Yang and Deming An All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Yang, Lihui. Handbook of Chinese mythology / Lihui Yang and Deming An, with Jessica Anderson Turner. p. cm. — (World mythology) Includes bibliographical references and index. ISBN 1-57607-806-X (hardcover : alk. paper) — ISBN 1-57607-807-8 (eBook) 1. Mythology, Chinese—Handbooks, Manuals, etc. I. An, Deming. II. Title. III. Series. BL1825.Y355 2005 299.5’1113—dc22 2005013851 This book is also available on the World Wide Web as an eBook. Visit abc-clio.com for details. ABC-CLIO, Inc. 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116–1911 This book is printed on acid-free paper.
    [Show full text]
  • The Metaphysical Symbolism of the Chinese Tortoise
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The metaphysical symbolism of the chinese tortoise Chong, Alan Wei Lun 2018 Chong, A. W. L. (2018). The metaphysical symbolism of the chinese tortoise. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/73204 https://doi.org/10.32657/10356/73204 Downloaded on 10 Oct 2021 09:40:57 SGT THE METAPHYSICAL SYMBOLISM OF THE CHINESE TORTOISE THE METAPHYSICAL SYMBOLISM THE METAPHYSICAL OF THE CHINESE TORTOISE CHONG WEI LUN ALAN CHONG WEI LUN, ALAN CHONG WEI LUN, SCHOOL OF ART, DESIGN AND MEDIA 2018 A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirement for the degree of Master of Arts (Research) Acknowledgements Foremost, I would like to express my gratitude to Nanyang Technological University, School of Art, Design and Media for believing in me and granting me the scholarship for my Masters research. I would like to thank my thesis supervisor Dr. Nanci Takeyama of the School of Art, Design and Media, College of Humanities, Arts, & Social Sciences at Nanyang Technological University. The door to Prof. Takeyama office was always open whenever I ran into a trouble spot or had a question about my research or writing. Her valuable advice and exceeding patience has steered me in the right the direction whenever she thought I needed it. I would like to acknowledge Dr. Sujatha Meegama of the School of Art, Design and Media, Nanyang Technological University for advising in my report, and I am gratefully indebted to her for her valuable input for my research process.
    [Show full text]
  • MONUMENTA SERICA Journal of Oriental Studies
    MONUMENTA SERICA Journal of Oriental Studies Vol. LVI, 2008 Editor-in-Chief: ROMAN MALEK, S.V.D. Members of the Monumenta Serica Institute (all S.V.D.): JACQUES KUEPERS – LEO LEEB – ROMAN MALEK – WILHELM K. MÜLLER – ARNOLD SPRENGER – ZBIGNIEW WESOŁOWSKI Advisors: NOEL BARNARD (Canberra) – J. CHIAO WEI (Trier) – HERBERT FRANKE (München) – VINCENT GOOSSAERT (Paris) – NICOLAS KOSS, O.S.B. (Taibei) – SUSAN NAQUIN (Princeton) – REN DAYUAN (Beijing) – HELWIG SCHMIDT-GLINTZER (Wolfenbüttel) – NICOLAS STANDAERT, S.J. (Leuven) Monumenta Serica Institute – Sankt Augustin 2008 Editorial Office Monumenta Serica Institute, Arnold-Janssen-Str. 20 53757 Sankt Augustin, Germany Tel.: (+49) (0) 2241 237 431 • Fax: (+49) (0) 2241 237 486 E-mail: [email protected] • http://www.monumenta-serica.de Redactors: BARBARA HOSTER, DIRK KUHLMANN, ROMAN MALEK Manuscripts of articles, reviews (typewritten and on floppy-disks, see Information for Authors), exchange copies, and subscription orders should be sent to the Editorial Office __________ Taipei Office Monumenta Serica Sinological Research Center 天主教輔仁大學學術研究院 華裔學志漢學研究中心 Fu Jen Catholic University, Hsinchuang 24205, Taipei Hsien E-mail: [email protected] • http://www.mssrc.fju.edu.tw Director: ZBIGNIEW WESOŁOWSKI, S.V.D. ISSN 0254-9948 Monumenta Serica: Journal of Oriental Studies © 2008. All rights reserved by Monumenta Serica Institute, Arnold-Janssen-Str. 20, 53757 Sankt Augustin, Germany Set by the Authors and the Editorial Office, Monumenta Serica Institute. Technical assistance: JOZEF BIŠTUŤ, S.V.D. Printed by DRUCKEREI FRANZ SCHMITT, Siegburg Distribution – Orders – Subscriptions: STEYLER VERLAG, P.O. Box 2460, 41311 Nettetal, Germany Fax: (+49) (0) 2157 120 222; E-mail: [email protected] www.monumenta-serica.de EBSCO Subscription Services, Standing Order Department P.O.
    [Show full text]
  • 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.
    [Show full text]