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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. -
Administrative Law and the Making of the First <I>Da Qing Huidian</I>
$GPLQLVWUDWLYH/DZDQGWKH0DNLQJRIWKH)LUVW'D4LQJ+XLGLDQ 0DFDEH.HOLKHU /DWH,PSHULDO&KLQD9ROXPH1XPEHU-XQHSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2,ODWH )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by Indiana University Libraries (4 Jul 2016 00:49 GMT) Administrative Law and the Making of the First Da Qing Huidian Macabe Keliher, West Virginia University* In the fall of 1690, after decades of development and deliberation, the Qing court issued the first edition of the collected statutes of the dynasty. This hundred-volume compilation pulled together all organizational stipulations for government personnel, as well as the institutional regulations and codes for administrative procedure and activity. It incorporated rules pertaining to political and administrative actors, including the emperor, and outlined the organization and operations of every office and political station of the Qing state. These compiled regulations were, for all intents and purposes, the administrative law of the Qing Dynasty.1 This was the Da Qing huidian, and it laid the ∗ The idea for this article developed in a conversation with my dissertation advisor, Mark Elliott, whose advice and comments on numerous drafts have been invaluable. Michael Chang read and commented on an early draft as a panel discussant at the 2014 Northeast AAS conference, and continued to provide valuable feedback on subsequent revisions in his role as an editor for this journal. I would also like to thank Michael Szonyi and Ian M. Milller for their detailed comments, as well as John Greggory, Nancy Park, David Porter, Teemu Ruskola, and the two anonymous reviewers. Additional research and final revisions were completed during my year as a Jerome Hall Postdoctoral Fellow at Indiana University Maurer School of Law. -
Climbing the Ladder of Success in the Imperial China: Chang Chien's
Open Access Library Journal Climbing the Ladder of Success in the Imperial China: Chang Chien’s Examination Life Shun-Chih Sun Department of Translation and Interpretation Studies, Chang Jung Christian University, Tainan, Chinese Taipei Email: [email protected] Received 7 August 2015; accepted 22 August 2015; published 28 August 2015 Copyright © 2015 by author and OALib. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract Chang Chien (1853-1926) was a native of Nant’ung, Kiangsu. In spite of the Various works on Chang Chien, which testify to the significance of his role in modern China, Chang Chien’s examina- tion life is still not well-researched. The purposes of this paper are firstly, to analyze Chang Chien’s examination life systematically and clearly in the hope that it may become a useful reference for researchers on modern China, and secondly, to stimulate scholars for further research. This paper depends more on basic source materials rather than second-hand data. Among various source materials, Chang Chien’s Diary, The Nine Records of Chang Chien and The Complete Work of Chang Chien are the most important. Chang Chien’s examination life has close connection with the Im- perial China’s Civil Service examination and the establishment of New Education system of China in the late Ch’ing Period. Chang Chien’s examination life can be divided into three periods: 1) The period to Siu-ts’ai diploma (licentiate). 2) The period to Chu-jen diploma (a successful candidate for provincial examination). -
Image – Narration
Shane McCausland Intermediary Moments: Framing and Scrolling Devices across Painting, Print and Film in China’s Visual Narratives As an historian of the arts of dynastic China, it is refreshing to be addressing schol- ars of the ‘old world’ of prehistory and classical archaeology and up to contempo- rary times, and to be in the final panel not because this paper deals with one of the West’s Others but because it investigates visual storytelling in artistic formats across the latter half of the historical period that began in China around 1500 BCE. This essay is concerned with how social meaning and identity are shaped through the materiality of pictorial artworks and also with some disciplinary questions about topics like mediality. Mindful of present concerns, I explore the mechanisms by which visual narratives were framed and developed in light of the changing media in use in this cultural context, as well as the intelligibility and coherence of these visual narrative devices. This conference called forth the type of thematic research, ranging widely across received divisions of time and culture and engaged in by an intergenerational cross-section of professionals, that the collective field of art history and archaeology actually needs and I commend the organizers for that.1 Still, concerning the wider framework for investigation here, there is a conundrum. Researchers are by nature wary of narratives and claims to legitimacy founded on the historical cultures em- bedded in the modern nation-states. At the same time, they must take seriously these cultural formations especially where the agency of the past in the present may be quite different from that of our European condition. -
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. -
Chinas Examination Hell the Civil Service Examinations of Imperial China 1St Edition Free
CHINAS EXAMINATION HELL THE CIVIL SERVICE EXAMINATIONS OF IMPERIAL CHINA 1ST EDITION FREE Author: Ichisada Miyazaki ISBN: 9780300026399 Download Link: CLICK HERE The Chinese Imperial Examination System Transcriptions Revised Romanization gwageo. During the reign of Emperor Xizong of Jin r. It was called the nine-rank system. After the collapse of the Han dynastythe Taixue was reduced to just 19 teaching positions and 1, students but climbed back to 7, students under the Jin dynasty — The Hanlin Academy played a central role in the careers of examination graduates during the Ming dynasty. During the Tang period, a set curricular schedule took shape where the three steps of reading, writing, and the composition of texts had to be learnt before students could enter state academies. Western perception of China in the 18th century admired the Chinese bureaucratic system as favourable over European governments for its seeming meritocracy. In the Song dynasty — the imperial examinations became the primary method of recruitment for official posts. Stanford: Stanford University Press. By the time of the Song dynasty, the two highest military posts of Minister of War and Chief of Staff were both reserved for civil servants. Liu, Haifeng The Chinas Examination Hell The Civil Service Examinations of Imperial China 1st edition of the military examination were more elaborate during the Qing than ever before. China's Examination Hell: The Civil Service Examinations of Imperial China There was almost no other way to hit the really big time. Average rating 3. Just a moment while we sign you in to your Goodreads account. He and the assistant examiners were dispatched on imperial order from the Ministry of Rites. -
The Costume in the Earliest Chinese Hand Scroll
Vol. 6, No. 1 Asian Social Science The Costume in the Earliest Chinese Hand Scroll Yue Hu Fashion Art Design Institute, Donghua University Shanghai, 200051, China Fashion College, Shanghai University of Engineering Science Shanghai, 201620, China E-mail: [email protected] Abstract The earliest Chinese hand scroll extant painting is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, which is now often considered to be a Tang Dynasty copy of the original. By compared with correlated literatures and images, the typical skill and styles in which the earliest Chinese figure painters of Jin Dynasty (AD 265-420) depicting costumes is opened out, as well as the typical costume patterns and styles of man, woman and children. Keywords: Costume, Hand scroll, ‘Nushi zhen’, Gu Kaizhi In South Qi Dynasty (AD 479-502) of Southern Dynasties, Xie He said: “No ancient painting is exquisite until Wei Xie.” in his <Commentaries on Ancient Paintings>. The ancient paintings Xie mentioned were the Chinese handscroll paintings of figure illustrations, and Wei was famous in Western Jin Dynasty (AD 265-317). So the mature style of Chinese ancient handscroll painting should appear from then on. Unfortunately, there was no Wei’s painting in existence, even copies. The earliest painting we can see nowadays is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, who was a top painter of the Eastern Jin Dynasty (AD 317-420), and ever learned painting from Xie. Upon that, this article will study the representation of garment and accessories of the figures in the painting all-sided. -
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. -
The Diary of a Manchu Soldier in Seventeenth-Century China: “My
THE DIARY OF A MANCHU SOLDIER IN SEVENTEENTH-CENTURY CHINA The Manchu conquest of China inaugurated one of the most successful and long-living dynasties in Chinese history: the Qing (1644–1911). The wars fought by the Manchus to invade China and consolidate the power of the Qing imperial house spanned over many decades through most of the seventeenth century. This book provides the first Western translation of the diary of Dzengmeo, a young Manchu officer, and recounts the events of the War of the Three Feudatories (1673–1682), fought mostly in southwestern China and widely regarded as the most serious internal military challenge faced by the Manchus before the Taiping rebellion (1851–1864). The author’s participation in the campaign provides the close-up, emotional perspective on what it meant to be in combat, while also providing a rare window into the overall organization of the Qing army, and new data in key areas of military history such as combat, armament, logistics, rank relations, and military culture. The diary represents a fine and rare example of Manchu personal writing, and shows how critical the development of Manchu studies can be for our knowledge of China’s early modern history. Nicola Di Cosmo joined the Institute for Advanced Study, School of Historical Studies, in 2003 as the Luce Foundation Professor in East Asian Studies. He is the author of Ancient China and Its Enemies (Cambridge University Press, 2002) and his research interests are in Mongol and Manchu studies and Sino-Inner Asian relations. ROUTLEDGE STUDIES -
F1914.53 Documentation Work Sheet
Freer Gallery of Art Completed: 31 August 2007 F1914.53 Updated: 06 May 2009 (format/bibliography) Trad. attrib. to: Gu Kaizhi 顧愷之 (ca. 345–406) Title: Nymph of the Luo River 《洛神圖》 Luoshen tu Dynasty/Date: Southern Song dynasty, mid-12th to mid-13th century Format: Handscroll Medium: Ink and color on silk Dimensions: 24.2 x 310.9 cm (9-1/2 x 122-3/8 in) Credit line: Gift of Charles Lang Freer Accession no.: F1914.53 Provenance: John C. Ferguson (1866–1945) Ex-collection Duanfang 端方 (1861–1911) Literary subject: Illustration of the rhapsody, or prose-poem (fu 賦), Luoshen fu 洛神賦 (The Nymph of the Luo River), by Cao Zhi 曹植 (192–232).1 The original poem contains 168 lines, while the current painting only illustrates the text starting at about line 111. Judging from this and comparison with other recorded and extant versions of the composition, it is apparent that a little more than half the painting is missing from the front of the scroll, and probably one scene from the rear as well.2 Outside label slip: Duanfang 端方 (1861–1911) 1 Freer Gallery of Art Completed: 31 August 2007 F1914.53 Updated: 06 May 2009 (format/bibliography) Six characters, running script; plus seven characters, smaller running script 顧虎頭《洛 神圖》。希世之珍,匋齋題。 The Nymph of the Luo River, by Gu Hutou [Gu Kaizhi]. A rare treasure of the world; written by Taozhai [Duanfang]. Front mounting silk: Yellow silk brocade with phoenix-and-cloud motif. With signed inside label. Two (2) collector seals. Dimensions: 24.0 x 11.1 cm Inside label slip: Liang Qingbiao 梁清標 (1620–1691) Ten characters, standard script. -
Zeng Jing's Informal Portraits of the Jiangnan Litera
UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
On the Yuan-Dynasty Qin-Zither (Gǔ Qín) and the Concept of 'Yuán Qín
On The Yuan-Dynasty Qin-Zither G( ǔ Qín) and The Concept of Yuán‘ Qín’ Might Be Wrong in The Period Research of Classical Chinese Qin-Zither of Ages Wang Feng The article Chinese appears Abstract: Following Mr. Zheng Minzhong’s research on the Tang-Song Chinese Qin-zither, a seven- from page 006 to 030. stringed plucked instrument called ‘Gǔ Qín ’ in Chinese pinyin (Gǔ means ancient time while Qín means musical stringed instrument in here, therefore, ‘Gu Qin’ refers to a kind of Chinese classical stringed musical instrument), this thesis explores ‘Gǔ Qín’ of the Yuan dynasty (‘Yuan Qin’ for short), for there is not yet a fully convincing statement to define ‘Yuan Qin’ owing to the lack of a general description of its unique craftsmanship. The analysis based on historical documents and extant objects and the cases study of Yan Guqing who was a stringed instrument maker of the Song-Yuan dynasties and Zhu Zhiyuan who was known as the stringed instrument maker of the Yuan-Ming dynasties and the creator of ‘Ming Qin’ style ——the Chinese Qin-zither of the Ming dynasty arrives at the conclusion that the Gǔ Qín of the late Yuan to early Ming dynasties share the features the same as the Gǔ Qín of the late Southern-Song to early Yuan periods. Simply speaking, the so called ‘Yuan Qin’ is made of ‘Song-Yuan 158 Palace Museum Journal No.2,2018 vol.196 Qin’ and ‘Yuan-Ming Qin’ by style and feature except the Qin-zither bearing the certain reign title. There is no typical ‘Yuan Qin’, let alone the concept of ‘Yuan Qin’ that is wrongly used to divide the history periods of classical Chinese stringed instruments (Gǔ Qín) of separate ages.