Preface of Selections of Refined Literature”
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Third Series • Volume Xxiii Part 1 • Third Series Third
part 1 volume xxiii • academia sinica • taiwan • 2010 INSTITUTE OF HISTORY AND PHILOLOGY third series asia major • third series • volume xxiii • part 1 • 2010 xiao tong’s preface to tao yuanming ji ping wang Between Reluctant Revelation and Disinterested Disclosure: Reading Xiao Tong’s Preface to Tao Yuanming ji iao Tong 蕭統 (501–531), posthumously the Crown Prince of Re- X .splendent Brilliance (Zhaoming taizi 昭明太子) of the Liang dynasty (502–557), is most famous for his compilation of the Wen xuan 文選, one of the most important anthologies in the Chinese literary tradi- tion.1 Yet the Liang prince made another contribution to the world of letters, namely, his fervent praise of Tao Yuanming 陶淵明 (365–427) that serves as a crucial link in the reception history of one of the great- est poets in China. The prince’s promotion of Tao Yuanming is seen in three interrelated activities: rewriting Tao Yuanming’s biography, collecting Tao’s works, and composing for the collection a long pref- ace (referred to here as the Preface). While the biography has proved a useful point of comparison for studying the canonization history of Tao Yuanming as a poet,2 the Preface attracts scholarly attention for a I would like to thank David R. Knechtges, Paul W. Kroll, Martin Kern, Susan Naquin, Ben- jamin Elman, Willard Peterson, and Paul R. Goldin, who read and commented on this paper. Their feedback has benefited me greatly in the process of revision. I also owe thanks to the editors and anomymous readers at Asia Major for comments and suggestions. -
American Oriental Society
American Oriental Society FOUNDED 1842 Constituent of the American Council of Learned Societies And the International Union of Orientalists ABSTRACTS OF COMMUNICATIONS PRESENTED AT THE TWO HUNDRED AND TWENTY-NINTH MEETING Chicago, Illinois March 15–18, 2019 c American Oriental Society 2019 New Haven CT and Ann Arbor MI A. Ancient Near East I: Syntax and Semantics. John Huehnergard, Uni- versity of Texas, Chair (1:30 p.m.–2:30 p.m.) Picasso Ballroom ∗ 1. Øyvind Bjøru, University of Texas at Austin, and Na’ama Pat-El, The Univer- sity of Texas, Austin On the Historical Syntax of the Subordination Morpheme in Assyrian Akkadian Akkadian marks subordinated verbs with a special morpheme, Babylonian -u and Assyri-an -(¯u)ni; e.g., ˇsa ir-ra-ru ‘the one he curses’ (OB, Anzu, line 22). Semitists and Assyriologists have debated the origin of these morphemes in Akkadian in general and in Assyrian in particular (e.g., Kouwenberg 2010, Hasselbach 2012). In this paper we will concentrate on the syntax and distribution of the morpheme in Assyrian, where it is morphologically complex and its syntax differs significantly from Babylonian. We will argue that this morpheme becomes generalized in this dialect, shifting from being part of the Assyrian TAM markers with restricted distribution, to acquiring a purely syntactic function which is decoupled from the verbal paradigm. In Middle Assyrian, the morpheme is attested on all verbal and deverbal predicates, with no restriction, including with verbs carrying other suffixes, such as pronominal and ventive. The most interesting development, however, is attested in Neo-Assyrian, where the morpheme is used to mark the right-most edge of the subordinated sentence, no matter what element is located there, including pronominal subjects in nominal sentences; e.g., LU´ la ´u-da a-a-´uˇsu-tu-´u-ni ‘I don’t know who this man is’ (SAA 10, 280: r1-2). -
Epilogue the Aftermath and the Romanticization of the Liang
epilogue The Aftermath and the Romanticization of the Liang With the Hou Jing Rebellion and the fall of the Liang, the cultural world of the Southern Dynasties came to an end—the Chen was but a fading echo of the Liang. But if the Liang officially ended in 557, its life contin- ued long afterward, both politically and culturally. After the sacking of Jiangling in 555, the Western Wei set up Xiao Cha 蕭詧, Xiao Tong’s third son, as the new ruler of Liang; his territory was limited to Jingzhou and sandwiched between the Western Wei, the Eastern Wei, and the Chen. Although subordinated to the Western Wei, Xiao Cha neverthe- less ruled over the small portion of land as emperor, and his dynasty is known as the Latter Liang 後梁. It lasted thirty-three years, almost as long as the Liang itself. Xiao Cha died at the age of forty-three in 562 and received the posthumous title, Emperor Xuan 宣帝. The throne passed to his third son, Xiao Kui 蕭巋, Emperor Ming 明帝. In 582 Xiao Kui’s daughter was chosen to be the consort of the Sui prince Yang Guang 楊廣, better known as Emperor Yang of the Sui or Sui Yangdi 隋煬帝 (r. 605–17). Emperor Wen of the Sui treated Xiao Kui with exceptional generosity; at the suggestion of his wife, Em- press Yang, he even dismissed the Sui army stationed in the Western City of Jiangling. He also told Xiao Kui that he would conquer the Chen and escort Xiao Kui back to Jiankang. -
Beyond Buddhist Apology the Political Use of Buddhism by Emperor Wu of the Liang Dynasty
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography Beyond Buddhist Apology The Political Use of Buddhism by Emperor Wu of the Liang Dynasty (r.502-549) Tom De Rauw ii To my daughter Pauline, the most wonderful distraction one could ever wish for and to my grandfather, a cakravartin who ruled his own private universe iii ACKNOWLEDGEMENTS Although the writing of a doctoral dissertation is an individual endeavour in nature, it certainly does not come about from the efforts of one individual alone. The present dissertation owes much of its existence to the help of the many people who have guided my research over the years. My heartfelt thanks, first of all, go to Dr. Ann Heirman, who supervised this thesis. Her patient guidance has been of invaluable help. Thanks also to Dr. Bart Dessein and Dr. Christophe Vielle for their help in steering this thesis in the right direction. I also thank Dr. Chen Jinhua, Dr. Andreas Janousch and Dr. Thomas Jansen for providing me with some of their research and for sharing their insights with me. My fellow students Dr. Mathieu Torck, Leslie De Vries, Mieke Matthyssen, Silke Geffcken, Evelien Vandenhaute, Esther Guggenmos, Gudrun Pinte and all my good friends who have lent me their listening ears, and have given steady support and encouragement. To my wife, who has had to endure an often absent-minded husband during these first years of marriage, I acknowledge a huge debt of gratitude. She was my mentor in all but the academic aspects of this thesis. -
Xiao Gang (503-551): His Life and Literature
Xiao Gang (503-551): His Life and Literature by Qingzhen Deng B.A., Guangzhou Foreign Language Institute, China, 1990 M.A., Kobe City University of Foreign Languages, Japan, 1996 Ph.D., Nara Women's University, Japan, 2001 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Doctor of Philosophy in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) February 2013 © Qingzhen Deng, 2013 ii Abstract This dissertation focuses on an emperor-poet, Xiao Gang (503-551, r. 550-551), who lived during a period called the Six Dynasties in China. He was born a prince during the Liang Dynasty, became Crown Prince upon his older brother's death, and eventually succeeded to the crown after the Liang court had come under the control of a rebel named Hou Jing (d. 552). He was murdered by Hou before long and was posthumously given the title of "Emperor of Jianwen (Jianwen Di)" by his younger brother Xiao Yi (508-554). Xiao's writing of amorous poetry was blamed for the fall of the Liang Dynasty by Confucian scholars, and adverse criticism of his so-called "decadent" Palace Style Poetry has continued for centuries. By analyzing Xiao Gang within his own historical context, I am able to develop a more refined analysis of Xiao, who was a poet, a filial son, a caring brother, a sympathetic governor, and a literatus with broad and profound learning in history, religion and various literary genres. Fewer than half of Xiao's extant poems, not to mention his voluminous other writings and many of those that have been lost, can be characterized as "erotic" or "flowery". -
A Comparison of Buddhist Music and Dance Between Ancient Cambodian and Yunnan Minority Peoples After Reading the Customs of Cambodia
A Comparison of Buddhist Music and Dance Between Ancient Cambodian and Yunnan Minority Peoples After Reading The Customs of Cambodia Yang Minkang (Music Research Institute, The Central Conservatory of Music, Beijing) [Summary] Over 700 years ago, The Customs of Cambodia was written by Zhou Daguan. It provided a detailed, reliable record and description of the Buddhist culture of Chenla, describing the Buddhist sects, characteristics of temples, Theravada rituals, ritual music activities, and related folklore activities. Compared with the music of some Yunnan ethnic groups that believe in Theravada, such as Dai, Blang, De’ang, etc, they all have some common features. In the vast sea of Chinese historical records, this is another important historical document that records ceremonies and ritual music and dance in detail after the Pyu Music.1 It helps us to understand the ins and outs of Theravada music and dance culture in China today, it also sheds light on the research of Theravada’s cultural history in Southeast Asia. [Keywords] The Customs of Cambodia, Dai Minority, Blang Minority, Theravada, Ritual music. [Chinese Library Classification] J607, J608, J609.2 [Document Code] A [Article ID] 1008-9667(2009)03-0027-08 During the Sui and Tang Dynasties, Chenla which was a vassal state of Funan, began to rise. Its original territories included today's northern Cambodia and southern Laos. Around the mid-6th century, A.D, Chenla annexed the eastern border area of Funan and gradually became stronger. In the 7th century, it eventually replaced Funan and became the most powerful Indianized countries in Southeast Asia. During the Song2 and Yuan3 dynasties, this country that once belonged to Funan grew stronger. -
Langdon Warner at Dunhuang: What Really Happened? by Justin M
ISSN 2152-7237 (print) ISSN 2153-2060 (online) The Silk Road Volume 11 2013 Contents In Memoriam ........................................................................................................................................................... [iii] Langdon Warner at Dunhuang: What Really Happened? by Justin M. Jacobs ............................................................................................................................ 1 Metallurgy and Technology of the Hunnic Gold Hoard from Nagyszéksós, by Alessandra Giumlia-Mair ......................................................................................................... 12 New Discoveries of Rock Art in Afghanistan’s Wakhan Corridor and Pamir: A Preliminary Study, by John Mock .................................................................................................................................. 36 On the Interpretation of Certain Images on Deer Stones, by Sergei S. Miniaev ....................................................................................................................... 54 Tamgas, a Code of the Steppes. Identity Marks and Writing among the Ancient Iranians, by Niccolò Manassero .................................................................................................................... 60 Some Observations on Depictions of Early Turkic Costume, by Sergey A. Yatsenko .................................................................................................................... 70 The Relations between China and India -
Consecrating the Buddha : Legend, Lo Re,And History of the Imperial
中華佛學學報第 011 期 (p483-533): (民國 77 年),臺北:中華佛學研 究所,http://www.chibs.edu.tw Chung-Hwa Buddhist Journal, No. 11, (1988) Taipei: The Chung-Hwa Institute of Buddhist Studies ISSN: 1017─7132 Consecrating the Buddha : Legend, Lo re,and History of the Imperial Relic-Veneration Ritual in theT 'ang Dynasty Huang Chi-chiang Associate Professor of Chinese, Hobart and William Smith Colleges p. 483 Summary This article deals with an important and intriguing aspect of the history of Buddhism inChina──the Buddha's bodily relics and the imperial ve neration of these relics. It discussesthe relic-veneration ritual perform ed in the palaces of the imperial dynasties from theWei-chin period thr ough the T'ang dynasty. Focusing on the ritual performed separately b yKao-tsung ( r.650-683 ), Empress Wu ( r.690 ~ 704 ) Su-tsung ( r.756 ~ 761 ), Te-tsung ( r.779 ~ 804 ), Hsien-tsung ( r.805 ~ 819 ), and I-tsung ( r.859 ~ 872 ), it analyzes possible reasonsfor the occurrence of each ritual. W hile acknowledging its existence, the article also callsreaders' attentio n to how this ritual grew out of a created or invented tradition. It reveal s theformation and the growth of the tradition as resulting from the cre ation or historicizationundertaken, consciously or unconsciously, by hi storians and Buddhist scholars at differentstages of China's imperial ti me. The process of this creation or historicization involved thefusion o f legend, lore, and historical facts as evidenced by some accounts, inc luding officialhistories and Buddhist works on the basis of which mode rn scholars write their historicalworks. -
The Seal of the Unity of the Three SAMPLE
!"# $#%& '( !"# )*+!, '( !"# !"-## By the same author: Great Clarity: Daoism and Alchemy in Early Medieval China (Stanford University Press, 2006) The Encyclopedia of Taoism, editor (Routledge, 2008) Awakening to Reality: The “Regulated Verses” of the Wuzhen pian, a Taoist Classic of Internal Alchemy (Golden Elixir Press, 2009) Fabrizio Pregadio The Seal of the Unity of the Three A Study and Translation of the Cantong qi, the Source of the Taoist Way of the Golden Elixir Golden Elixir Press This sample contains parts of the Introduction, translations of 9 of the 88 sections of the Cantong qi, and parts of the back matter. For other samples and more information visit this web page: www.goldenelixir.com/press/trl_02_ctq.html Golden Elixir Press, Mountain View, CA www.goldenelixir.com [email protected] © 2011 Fabrizio Pregadio ISBN 978-0-9843082-7-9 (cloth) ISBN 978-0-9843082-8-6 (paperback) All rights reserved. Except for brief quotations, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. Typeset in Sabon. Text area proportioned in the Golden Section. Cover: The Chinese character dan 丹 , “Elixir.” To Yoshiko Contents Preface, ix Introduction, 1 The Title of the Cantong qi, 2 A Single Author, or Multiple Authors?, 5 The Dating Riddle, 11 The Three Books and the “Ancient Text,” 28 Main Commentaries, 33 Dao, Cosmos, and Man, 36 The Way of “Non-Doing,” 47 Alchemy in the Cantong qi, 53 From the External Elixir to the Internal Elixir, 58 Translation, 65 Book 1, 69 Book 2, 92 Book 3, 114 Notes, 127 Textual Notes, 231 Tables and Figures, 245 Appendixes, 261 Two Biographies of Wei Boyang, 263 Chinese Text, 266 Index of Main Subjects, 286 Glossary of Chinese Characters, 295 Works Quoted, 303 www.goldenelixir.com/press/trl_02_ctq.html www.goldenelixir.com/press/trl_02_ctq.html Introduction “The Cantong qi is the forefather of the scriptures on the Elixir of all times. -
(Shijing): on “Filling out the Missing Odes” by Shu Xi
Righting, Riting, and Rewriting the Book of Odes (Shijing): On “Filling out the Missing Odes” by Shu Xi Thomas J. MAZANEC University of California, Santa Barbara1 A series of derivative verses from the late-third century has pride of place in one of the foundational collections of Chinese poetry. These verses, “Filling out the Missing Odes” by Shu Xi, can be found at the beginning of the lyric-poetry (shi 詩) section of the Wenxuan. This essay seeks to understand why such blatantly imitative pieces may have been held in such high regard. It examines how Shu Xi’s poems function in relation to the Book of Odes, especially their use of quotation, allusion, and other intertextual strategies. Rather than imitate, borrow, or forge, the “Missing Odes” seek to bring the idealized world of the Odes into reality by reconstructing canonical rites with cosmic implications. In so doing, they represent one person’s attempt to stabilize the chaotic political center of the Western Jin in the last decade of the third century. The “Missing Odes” reveal that writing, rewriting, ritualizing, and anthologizing are at the heart of early medieval Chinese ideas of cultural legitimation. Introduction If one were to open the Wenxuan 文選, the foundational sixth-century anthology compiled by Crown Prince Xiao Tong 蕭統 (501–531), and turn to the section on shi- poetry 詩 in hopes of understanding early medieval lyricism, the first pages would present one with a curious series of six poems, different in style and tone from the more famous works that follow. This set of tetrametric verses by Shu Xi 束皙 (ca. -
The Transparent Stone
WU HUNG The TransparentStone: Inverted Vision and Binary Imagery in Medieval Chinese Art A CRUCIAL MOMENT DIVIDES the course of Chinese art into two broad periods. Before this moment,a ritual art traditiontransformed general political and religious concepts into material symbols.Forms that we now call worksof art were integralparts of largermonumental complexes such as temples and tombs,and theircreators were anonymouscraftsmen whose individualcrea- tivitywas generallysubordinated to largercultural conventions. From the fourth and fifthcenturies on, however,there appeared a group of individuals-scholar- artistsand art critics-who began to forge theirown history.Although the con- structionof religiousand politicalmonuments never stopped, these men of let- ters attempted to transformpublic art into their private possessions, either physically,artistically, or spiritually.They developed a strongsentiment toward ruins,accumulated collectionsof antiques,placed miniaturemonuments in their houses and gardens,and "refined"common calligraphicand pictorialidioms into individual styles.This paper discusses new modes of writingand paintingat this liminalpoint in Chinese art history. Reversed Image and Inverted Vision Near the modern cityof Nanjing in eastern China, some ten mauso- leums survivingfrom the early sixth centurybear witnessto the past glory of emperors and princes of the Liang Dynasty(502-57).' The mausoleums share a general design (fig. 1). Three pairs of stone monumentsare usually erected in frontof the tumulus: a pair of stone animals-lions or qilinunicorns according to the statusof the dead-are placed before a gate formedby two stone pillars; the name and titleof the deceased appear on the flatpanels beneath the pillars' capitals. Finallytwo opposing memorialstelae bear identicalepitaphs recording the career and meritsof the dead person. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities.