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Glaciers in Xinjiang, China: Past Changes and Current Status
water Article Glaciers in Xinjiang, China: Past Changes and Current Status Puyu Wang 1,2,3,*, Zhongqin Li 1,3,4, Hongliang Li 1,2, Zhengyong Zhang 3, Liping Xu 3 and Xiaoying Yue 1 1 State Key Laboratory of Cryosphere Science/Tianshan Glaciological Station, Northwest Institute of Eco-Environment and Resources, Chinese Academy of Sciences, Lanzhou 730000, China; [email protected] (Z.L.); [email protected] (H.L.); [email protected] (X.Y.) 2 University of Chinese Academy of Sciences, Beijing 100049, China 3 College of Sciences, Shihezi University, Shihezi 832000, China; [email protected] (Z.Z.); [email protected] (L.X.) 4 College of Geography and Environment Sciences, Northwest Normal University, Lanzhou 730070, China * Correspondence: [email protected] Received: 18 June 2020; Accepted: 11 August 2020; Published: 24 August 2020 Abstract: The Xinjiang Uyghur Autonomous Region of China is the largest arid region in Central Asia, and is heavily dependent on glacier melt in high mountains for water supplies. In this paper, glacier and climate changes in Xinjiang during the past decades were comprehensively discussed based on glacier inventory data, individual monitored glacier observations, recent publications, as well as meteorological records. The results show that glaciers have been in continuous mass loss and dimensional shrinkage since the 1960s, although there are spatial differences between mountains and sub-regions, and the significant temperature increase is the dominant controlling factor of glacier change. The mass loss of monitored glaciers in the Tien Shan has accelerated since the late 1990s, but has a slight slowing after 2010. Remote sensing results also show a more negative mass balance in the 2000s and mass loss slowing in the latest decade (2010s) in most regions. -
Full Spectrum of Selves in Modern Chinese Literature: from Lu Xun to Xiao Hong
UCLA UCLA Electronic Theses and Dissertations Title Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong Permalink https://escholarship.org/uc/item/5022k8qv Author Ho, Felicia Jiawen Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in East Asian Languages and Cultures by Felicia Jiawen Ho 2012 © Copyright by Felicia Jiawen Ho 2012 ABSTRACT OF THE DISSERTATION Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong by Felicia Jiawen Ho Doctor of Philosophy in East Asian Languages and Cultures University of California, Los Angeles, 2012 Professor Shu-mei Shih, Chair Despite postcolonial theory’s rejection of legacies of Western imperial dominance and cultural hierarchy, the superiority of Euro-American notions of subjectivity remains a persistent theme in third world cross-cultural literary analysis. Interpretations of the Chinese May Fourth era often reduce the period to one of wholesale westernization and cultural self- repudiation. Euro-American notions of the self often reify ideologies of individuality, individualism, rationalism, evolution, and a “self-versus-society” dichotomy, viewing such positions as universal and applicable for judging decolonizing others. To interrogate this assumption, I examine the writing of Lu Xun and Xiao Hong, two May Fourth writers whose fictional characters present innovative, integrated, heterogeneous selves that transcend Western ii critical models. This “full spectrum of selves” sustains contradicting pulls of identity—the mental (the rational, the individual), the bodily (the survivalist, the affective), the cerebral (the moral), the social (the relational, the organismic), as well as the spiritual and the cosmic. -
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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. -
Rediscovering the Idea of Cultural Heritage and the Relationship with Nature: Four Schools of Essential Thought of the Ancient Han Chinese
heritage Article Rediscovering the Idea of Cultural Heritage and the Relationship with Nature: Four Schools of Essential Thought of the Ancient Han Chinese Otto Chen * and Dawei Han Department of Civil Engineering, University of Bristol, Bristol BS8 1TR, UK * Correspondence: [email protected]; Tel.: +44-117-903-5428 Received: 12 June 2019; Accepted: 28 June 2019; Published: 3 July 2019 Abstract: After a long-standing debate of pluralism in heritage conservation, the global practice has just started to broaden its view from material to people and even to nature, leading to the potential of a more comprehensive understanding and harmony between these spheres. Notwithstanding that the shift from material to people and then to nature seemingly looks like the only path in the modern heritage conservation movement to achieve the foregoing goals, in fact, there exist some regional cultures that originally featured particular views on human–nature harmony. This paper hence highlights the regional difference in heritage with a focus on China of ancient times, which unfolds the particular perspective emphasising the unity of human and nature. With a case study of Huaqing Palace of the Tang Dynasty (618–907 CE), the research is expected to be the first attempt to rediscover that the four schools of thought, Buddhism, Taoism, Confucianism and I Ching, had jointly formed a “wisdom” system of the ancient Han Chinese in shaping the idea of cultural heritage, as well as the idea of heritage conservation, which were inherited by modern Chinese without knowing and recognising it. The paper, therefore, argues that without understanding and acknowledging the significance of the ancient Han Chinese’s particular view on nature and the universe formed by the four schools of thought behind the material, it is not likely to protect and promote comprehensively their heritage value, such that the importance of cultural diversity will be just rhetoric. -
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). -
Social and Political Criticisms Embedded in Chinese Myths and Legends
https://doi.org/10.7592/FEJF2019.75.xiyao SOCIAL AND POLITICAL CRITICISMS EMBEDDED IN CHINESE MYTHS AND LEGENDS HE Xiyao School of English Studies Zhejiang International Studies University Hangzhou, China e-mail: [email protected] Abstract: Chinese myths and legends, as popular cultural products, may be subjected to the analytical methods of cultural studies, which is the approach this study adopts when investigating their complex relationship with Chinese society and history. In particular, the social and political criticisms embedded in these myths and legends are studied, and this is done through exploring the reasons for the prominence of the embedded criticisms in Chinese myths and legends, and sorting out the general trend of their development. The prominence is accounted for by the harsh censorship and the influence of the Chu spirit and Taoism on Chinese culture.1 In the development of these criticisms, four stages are marked, each (cor)responding to the historical circumstances and with its own distinct feature. The study concludes with the historicity of Chinese myths and legends; the criticisms are embedded in them and they, in turn, are embedded in Chinese society and history. Keywords: censorship of culture, Chinese myths and legends, Chu spirit, cultural studies, social and political criticisms, strategies and tactics, Taoism APPROACH ADOPTED IN THIS STUDY Among the various approaches to the study of Chinese mythology – and of mythology in general – an important one that has persisted throughout the last century and has remained influential to this day is to study the complex relationship between mythology and society, i.e., how the two have affected, structured, and shaped each other. -
崑崙纏手八卦kunlun Twining Hands Bagua Qigong
崑崙纏手八卦 Kunlun Twining Hands Bagua Qigong In Kunlun Twining Hand Bagua we walk in a circle in order to gather the Qi from all eight directions which is Bagua (eight situation). When we walk, we cover clockwise and anti-clockwise which also connects with post natal and prenatal Qi and to stimulate our internal organs. Chinese Qigong discovered that each direction connects with an internal organ. This balances our Qi and gets rid of negative Qi. Other movements in the form connect particularly with the Liver, stimulating this area and releasing excess Liver Qi. This helps to make our liver soft and healthy. When we stand with our toes in and heels turned out in movement two, this shape represents the Chinese writing for the number eight (八). In movement eighteen, the Gua Palm develops Qi for transmission for healing ourselves. Below is a poem for this form. 口訣: 五行八卦深, 造詣在中心, 提供氣功素, 伸手打病氣. 任督兩脈動, 必須到心中, 心中往上升, 升到五行中. Poem: Five Elements and Bagua principle are very profound - need to understand in the heart. That will bring up the level of Qigong training. Slapping with hands to eliminate the sick Qi. Smoothing Ren and Du Mai, then the Qi reaches to the middle Dantian, then continue to rise up, at the end high up to Five Elements (Sky high). 1. 放鬆站立 Relaxed Stance 2. 八字亮掌 Open the Palms in Eight Shape Step 3. 陰陽撩掌 Yin Yang Spiral Palms (left palm over the right palm) 4. 旋轉點髃 Spiral Hitting Jianyu Points 5. 背瓜貫氣 Passing Qi to the Back with the Claw 6. 轉身回氣 Recover Qi by Turning the Body 7. -
Mythical Image of “Queen Mother of the West” and Metaphysical Concept of Chinese Jade Worship in Classic of Mountains and Seas
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 21, Issue11, Ver. 6 (Nov. 2016) PP 39-46 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Mythical Image of “Queen Mother of the West” and Metaphysical Concept of Chinese Jade Worship in Classic of Mountains and Seas Juan Wu1 (School of Foreign Language,Beijing Institute of Technology, China) Abstract: This paper focuses on the mythological image, the Queen Mother of the West in Classic of Mountains and Seas, to explore the hiding history and mental reality behind the fantastic literary images, to unveil the origin of jade worship, which plays an significant role in the 8000-year-old history of Eastern Asian jade culture, to elucidate the genetic mechanism of the jade worship budded in the Shang and Zhou dynasties, so that we can have an overview of the tremendous influence it has on Chinese civilization, and illustrate its psychological role in molding the national jade worship and promoting the economic value of jade business. Key words: Mythical Image, Mythological Concept, Jade Worship, Classic of Mountains and Seas I. WHITE JADE RING AND QUEEN MOTHER OF THE WEST As for the foundation and succession myths of early Chinese dynasties, Allan holds that “Ancient Chinese literature contains few myths in the traditional sense of stories of the supernatural but much history” (Allan, 1981: ix) and “history, as it appears in the major texts from the classical period of early China (fifth-first centuries B.C.),has come to function like myth” (Allan, 1981: 10). While “the problem of myth for Western philosophers is a problem of interpreting the meaning of myths and the phenomenon of myth-making” as Allan remarks, “the problem of myth for the sinologist is one of finding any myths to interpret and of explaining why there are so few.” (Allen, 1991: 19) To decode why white jade enjoys a prominent position in the Chinese culture, the underlying conceptual structure and unique culture genes should be investigated. -
Chinese Mythology 神话
Chinese Mythology By: Andy R. and Kyle A. 神话 What is it? 这这是什么? • Chinese mythology is a collection of cultural history, folktales, and religions that have been passed down through generations. • Chinese mythology is passed down through speech or written words. • Much of Chinese mythology is about creation myths (how the world and people were created) and gods • Many myths concern the creation myths (创世神话) of the Chinese state and culture. How they were spread 他们是如何传播的 - Chinese mythology began in the 12th century BCE. - The myths and legends were passed down orally for thousands of years until they were written in books like the Shan Hai Jing (山海经), which means Classic of the mountain and Seas - Other myths were passed down in the form of songs and theater. - Many myths were in the forms of poems(诗) Examples of Chinese Myths -- Poems like Heavenly Questions and Jiu Ge- Investiture of the Gods, are mythological fictional stories dealing with the founding of the Zhou dynasty • -- Other important mythological works are Journey to the West and Bai She Zhuan Creation Myth of China http://www.mythicjourneys.org/bigmyth/myths/english/2_chinese_ful l.htm - Recap: The world was created from an egg. Inside the egg was yin and yang and they were constantly fighting. Yin and Yang fought so much the egg cracked and out came a dragon called Pan-gu. The dragon grew 10 feet a day until the sky was 30,000 miles above the ground. When he stopped growing, he created the mountains, river, and flat lands. One day he grew old and died, when he died his blood became the rivers and one eye became the sun and the other became the moon. -
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. -
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. -
2009 01 NL Winter.Pub
WUJI.COM 8316 8th Ave NW Seattle, WA 98117 (206) 234-8794 Xin Qi Shen Dojo Winter 2009 © 2008 A.T. Dale 2009 Oneness With The Dao WINTER CLASSES Moving away from fighting Chen Taiji Quan As I was picking up copies of Professor Zhang Jie’s Bagua book, I had a Saturdays very nice conversation with him about Bagua and the Internal Arts. 9-10 am Advanced 10-11 am 96 Form Work He mentioned he had seen some of the ‘cage fighting’ on TV and was 11-12 Partner Work wondering . Why? He said it was interesting to see but it was totally in the opposite direction of his thoughts about training and the purpose Qi Gong of the martial arts. The idea is to use your skill only when necessary, Tuesdays not for sport. 6-7pm Tian Shan Qi Gong It’s amazing that the contenders don’t realize that the injuries they get now will never go away and will hinder their health and quality of life Yang Taiji Quan Tuesdays if they live to grow into old age or even past 50! 7-8 Form Work Though a martial art, Bagua and the other martial arts evolve as 8-9 Partner Work humanity grows. Originally meant to protect the village and country, Aikido now they have grown as a method of training for us to polish Wednesdays ourselves, to strengthen our health but also to understand ourselves 6-8 basics through our training and practice. A method to understand our crude 8-9 advanced nature and work on refining it, focusing it in a positive direction.