A Diachronic Study of Dragon Lexemes in Mandarin Chinese: Lexical Change and Semantic Development *
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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. -
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). -
The Globalization of Chinese Food ANTHROPOLOGY of ASIA SERIES Series Editor: Grant Evans, University Ofhong Kong
The Globalization of Chinese Food ANTHROPOLOGY OF ASIA SERIES Series Editor: Grant Evans, University ofHong Kong Asia today is one ofthe most dynamic regions ofthe world. The previously predominant image of 'timeless peasants' has given way to the image of fast-paced business people, mass consumerism and high-rise urban conglomerations. Yet much discourse remains entrenched in the polarities of 'East vs. West', 'Tradition vs. Change'. This series hopes to provide a forum for anthropological studies which break with such polarities. It will publish titles dealing with cosmopolitanism, cultural identity, representa tions, arts and performance. The complexities of urban Asia, its elites, its political rituals, and its families will also be explored. Dangerous Blood, Refined Souls Death Rituals among the Chinese in Singapore Tong Chee Kiong Folk Art Potters ofJapan Beyond an Anthropology of Aesthetics Brian Moeran Hong Kong The Anthropology of a Chinese Metropolis Edited by Grant Evans and Maria Tam Anthropology and Colonialism in Asia and Oceania Jan van Bremen and Akitoshi Shimizu Japanese Bosses, Chinese Workers Power and Control in a Hong Kong Megastore WOng Heung wah The Legend ofthe Golden Boat Regulation, Trade and Traders in the Borderlands of Laos, Thailand, China and Burma Andrew walker Cultural Crisis and Social Memory Politics of the Past in the Thai World Edited by Shigeharu Tanabe and Charles R Keyes The Globalization of Chinese Food Edited by David Y. H. Wu and Sidney C. H. Cheung The Globalization of Chinese Food Edited by David Y. H. Wu and Sidney C. H. Cheung UNIVERSITY OF HAWAI'I PRESS HONOLULU Editorial Matter © 2002 David Y. -
Introduction
Introduction In March 1949, when Mao Zedong set out for Beijing from Xibaipo, the remote village where he had lived for the previous ten months, he took along four printed texts. Included were the Shiji (Records of the Grand Historian, c. 100 BCE) and the Zizhi tongjian (Comprehensive Mirror for Aid in Government, c. 1050 CE), two works that had been studied for centuries by emperors, statesmen, and would-be conquerors. Along with these two historical works, Mao packed two modern Chinese dictionaries, Ciyuan (The Encyclopedic Dictionary, first published by the Commercial Press in 1915) and Cihai (Ocean of Words, issued by Zhonghua Books in 1936- 37).1 If the two former titles, part of the standard repertoire regularly re- printed by both traditional and modern Chinese publishers, are seen as key elements of China’s broadly based millennium-old print culture, then the presence of the two latter works symbolizes the singular intellectual and political importance of two modern industrialized publishing firms. Together with scores of other innovative Shanghai-based printing and publishing enterprises, these two corporations shaped and standardized modern Chi- nese language and thought, both Mao’s and others’, using Western-style printing and publishing operations of the sort commonly traced to Johann Gutenberg.2 As Mao, who had once organized a printing workers’ union, understood, modern printing and publishing were unimaginable without the complex of revolutionary technologies invented by Gutenberg in the fifteenth century. At its most basic level, the Gutenberg revolution involved the adaptation of mechanical processes to the standardization and duplication of texts using movable metal type and the printing press. -
Origins of Chinese Political Philosophy: Studies in the Composition and Thought of the Shangshu (Classic of Documents)
饒宗頤國學院院刊 第五期 417 2018 年 5 月 頁 417– 445 Origins of Chinese Political Philosophy: Studies in the Composition and Thought of the Shangshu (Classic of Documents). Edited by Martin KERN and Dirk MEYER. Leiden and Boston: Brill, 2017. Pp. vi+508. Edward L. SHAUGHNESSY East Asian Languages and Civilizations, The University of Chicago The publication of a major English-language book on the Shang shu 尚書 (Elevated documents) or Shu jing 書經 (Classic of documents), the second of the Chinese classics, should surely count as a major milestone in the Western study of early China. As the editors note in their Introduction, the Shang shu has inspired all aspects of Chinese political philosophy for over two thousand years now. Yet, as they also say, “In some kind of reverse—and bizarre— Book Reviews correlation, the Shangshu is as important to the Chinese political tradition as it is neglected in Western scholarship” (p. 2). Their claim just above this that “major Western works on the Shangshu can be counted on two hands, with fingers to spare” is only a bit exaggerated.1 In this volume we now have fourteen studies in just over 500 pages, that directly address at least fourteen different chapters of the Shang shu, not to mention two chapters of the 1 True, I count only eight or nine such studies listed in the various bibliographies attached at the end of each chapter, but they do not even include mention of such classic studies as Paul Pelliot, “Le Chou King en caractères anciens et le Chang Chou che wen,” Mémoires concernant l’Asie Orientale 2 (1916): 123–77, or Benjamin Elman, “Philosophy (I-Li) versus Philology (K’ao-cheng): The Jen-hsin tao-hsin Debate,” T’oung Pao 2nd ser. -
Downloaded from Brill.Com10/04/2021 08:34:09AM Via Free Access Bruce Rusk: Old Scripts, New Actors 69
EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700* Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay. -
The Symbol of the Dragon and Ways to Shape Cultural Identities in Institute Working Vietnam and Japan Paper Series
2015 - HARVARD-YENCHING THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE CULTURAL IDENTITIES IN INSTITUTE WORKING VIETNAM AND JAPAN PAPER SERIES Nguyen Ngoc Tho | University of Social Sciences and Humanities, Vietnam National University – Ho Chi Minh City THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE 1 CULTURAL IDENTITIES IN VIETNAM AND JAPAN Nguyen Ngoc Tho University of Social Sciences and Humanities Vietnam National University – Ho Chi Minh City Abstract Vietnam, a member of the ASEAN community, and Japan have been sharing Han- Chinese cultural ideology (Confucianism, Mahayana Buddhism etc.) and pre-modern history; therefore, a great number of common values could be found among the diverse differences. As a paddy-rice agricultural state of Southeast Asia, Vietnam has localized Confucianism and absorbed it into Southeast Asian culture. Therefore, Vietnamese Confucianism has been decentralized and horizontalized after being introduced and accepted. Beside the local uniqueness of Shintoism, Japan has shared Confucianism, the Indian-originated Mahayana Buddhism and other East Asian philosophies; therefore, both Confucian and Buddhist philosophies should be wisely laid as a common channel for cultural exchange between Japan and Vietnam. This semiotic research aims to investigate and generalize the symbol of dragons in Vietnam and Japan, looking at their Confucian and Buddhist absorption and separate impacts in each culture, from which the common and different values through the symbolic significances of the dragons are obviously generalized. The comparative study of Vietnamese and Japanese dragons can be enlarged as a study of East Asian dragons and the Southeast Asian legendary naga snake/dragon in a broader sense. The current and future political, economic and cultural exchanges between Japan and Vietnam could be sped up by applying a starting point at these commonalities. -
Asian Studies (ASST) 1
Asian Studies (ASST) 1 Asian Studies (ASST) Courses ASST 0811. Asian Behavior & Thought. 3 Credit Hours. This course is an introduction to some of the major philosophical and religious traditions of Asia, and their roles in Asia and the world today. You will learn about some of the dominant features of these traditions and be exposed to several important ideas, institutions, and practices. How do these ideas influence the behavior of individuals and communities? How does individual and communal behavior and beliefs differ regionally and historically? We will read and discuss selections from primary works as well as secondary scholarship, while surveying key doctrines and historical developments. Note: This course fulfills the Human Behavior (GB) requirement for students under GenEd and Individual & Society (IN) for students under Core. Students cannot receive credit for this course if they have successfully completed any of the following: CRIT 0811, PHIL 0811, CHI 0811, JPNS 0811, REL 0811, or REL 0911. Course Attributes: GB Repeatability: This course may not be repeated for additional credits. ASST 0815. Language in Society. 3 Credit Hours. How did language come about? How many languages are there in the world? How do people co-exist in countries where there are two or more languages? How do babies develop language? Should all immigrants take a language test when applying for citizenship? Should English become an official language of the United States? In this course we will address these and many other questions, taking linguistic facts as a point of departure and considering their implications for our society. Through discussions and hands-on projects, students will learn how to collect, analyze, and interpret language data and how to make informed decisions about language and education policies as voters and community members. -
Virtuous Life, Honored Afterlife and the Evolution of Confucianism
History in the Making Volume 10 Article 7 January 2017 Virtuous Life, Honored Afterlife and the Evolution of Confucianism Jasmyn Murrell CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/history-in-the-making Part of the Asian History Commons Recommended Citation Murrell, Jasmyn (2017) "Virtuous Life, Honored Afterlife and the Evolution of Confucianism," History in the Making: Vol. 10 , Article 7. Available at: https://scholarworks.lib.csusb.edu/history-in-the-making/vol10/iss1/7 This Article is brought to you for free and open access by the History at CSUSB ScholarWorks. It has been accepted for inclusion in History in the Making by an authorized editor of CSUSB ScholarWorks. For more information, please contact [email protected]. Jasmyn Murrell Virtuous Life, Honored Afterlife and the Evolution of Confucianism By Jasmyn Murrell Abstract: Confucius states that we must not focus on the afterlife, because we know so little of it, and we must focus on everyday life. However, Confucianism holds a philosophy of afterlife, even if it is not outright said or depicted. This paper will aim to prove just that. First, through Confucian ideals of being a dutiful person, to grant yourself an honored afterlife, and second, through how Confucianism influenced other religions such as Buddhism and Daoism, which will show a clear depiction of afterlife by considering death rituals, festivals, commune with ancestors, prayers, tomb decor, and the ideology of Confucianism, Daoism, and Buddhism – you will begin to see the depiction of afterlife within Confucianism. But also, you will get to see how Confucianism has evolved and took on traits of both Daoism and Buddhism, which in turn is called Neo-Confucianism. -
Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 *
EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 * Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse 1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay. -
Hmong Religion
Hmong Religion N ic h o l a s T a p p The Chinese University of Hong Kong I. THE OTHERWORLD I ntroduction The Hmong are pantheists, believing in a variety of natural and super natural spiritual forces living in and animating all things. The Hmong world is inhabited by a variety of natural, ancestral, and supernatural spirits or gods. As with much in Hmong religion, Chinese influence is strong, and the Hmong Otherworld is closely modelled on the Chinese Otherworld, which in turn represents an inversion of the classical Chi nese bureacracy. The Hmong world of yeeb ceeb parallels the Chinese world of y in , the dark world 01 the spirits: the Hmong world of y a j ceeb parallels the Chinese world of yang, the bright world of men and women, of material objects and nature. In previous times, the Hmong often say, men and spirits could meet and talk to each other, and the passage between the two worlds was much easier. Now that the two worlds have become divided, only the shaman may, with impunity, venture into the Otherworld and return safely to this one. S p ir it u a l B e in g s In the Hmong song of Creation which is sung during the funeral rites, it is told how it was the frog, Nplooj Lwg, who first created the world of men and spirits. However, he was killed by the first humans, in a rage because he had lied to them about the size of the world (he had said it was no larger than the palm of a hand, the sole of a foot).1 The frog’s dying curse was that henceforth mankind would know sickness and death, the leaves would fall from the trees and the forests grow thinner. -
Myths of the Yellow Emperor
6 Myths of the Yellow Emperor T h e god called the Yellow Emperor played a minor role in the early tradition, but he gradually acquired a complex biography, an elab orate genealogy, and a cycle o f folkloristic legends that gave him an exalted status in the divine pantheon. Although later tradition made the Yellow Emperor the supreme deity of the Taoist pantheon, when philo sophical Taoism had acquired a more religious coloration and was espoused by imperial rulers, and although traditional histories have presented this god as the pacific culture bearer, the early tradition clearly shows that the Yellow Emperor (Huang Ti) is first and foremost a warrior-god who successfully fought against a series o f enemies — the Flame Emperor, Ch’ih Yu the god o f war, the Four Emperors, the hero Hsing T ’ien, and the one-legged god K ’uei, besides many other lesser known mythical figures. When the warrior function of the Yellow Emperor is compared with gods in mythology worldwide, his battles are violent but not frenzied, purposeful but not mindless, pacific in motive but not anarchic in the way that Thorr, Indra, and Odin are in their warrior function. In addition to his functions as warrior and peacemaker, this god also had the function o f culture bearer in later local traditions. For the Han historian Ssu-ma Ch’ien, the Yellow Em peror symbolized the fountainhead of Chinese culture and civilization. 130 Myths o f the Yellow Emperor — 131 The Battle between the Yellow Emperor and the Flame Emperor The first two readings, from the early and later tradition, narrate the battle between the Yellow Emperor and his brother, the Flame Em peror, Yen Ti.