Thematische Bibliographien / Des Yuan aux Qing

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Auswahl der wissenschaftlichen Literatur zum Thema „Des Yuan aux Qing“

Autor: Grafiati

Veröffentlicht am 29. März 2025

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Zeitschriftenartikel zum Thema "Des Yuan aux Qing"

Zhao, Xiaohuan. „Love, Lust, and Loss in the Daoist Nunnery as Presented in Yuan Drama“. T’oung pao 100, Nr. 1-3 (24.11.2014): 80–119. http://dx.doi.org/10.1163/15685322-10013p03.

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Most studies of either Daoist influences and features or love and romance in Yuan drama concentrate on the male-dominated theme of deliverance (dutuo) or center on the “scholar-beauty” or “scholar-courtesan” romantic relationship, with little attention given to Daoist women involved in love affairs or marriage arrangements. This article aims to bring to light life and love in the Daoist nunnery as featured in Yuan drama, by focusing on transgressive Daoist nuns longing for secular life and sensual love and on lay women whose marriages are arranged by Daoist nuns. Four zaju plays have been selected for textual and thematic analysis, namely, Yuanyang bei (The Mandarin-Duck Quilt), Wangjiang ting (The River-viewing Pavilion), Nüzhen guan (The Cloister of Female Daoists), and Zhuwu ting qin (Listening to the Zither from a Bamboo-Thicketed Cottage). La majorité des études consacrées, suivant les cas, aux influences et aux éléments taoïstes ou aux intrigues romantiques dans le théâtre Yuan, se concentrent soit sur le thème masculin de la délivrance (dutuo), soit sur les idylles entre “lettrés et beautés” ou “lettrés et courtisanes”. En revanche on s’est peu intéressé aux exemples de femmes taoïstes impliquées dans des relations amoureuses ou dans des négociations matrimoniales. Cet article cherche à mettre en évidence la vie et l’amour dans les couvents taoïstes tels que les donne à voir le théâtre Yuan en évoquant des nonnes poussées à transgresser les règles par leur désir de vie laïque et d’amour sensuel et des femmes laïques dont le mariage est arrangé par des nonnes. Quatre pièces de zaju ont été choisies pour une analyse textuelle et thématique : Yuanyuan bei (La couverture aux canards mandarins), Wangjiang ting (Le pavillon donnant sur le fleuve), Nüzhen guan (Le couvent taoïste) et Zhuwu ting qin (Écouter la cithare dans la chaumière).

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Shigu, Liu. „Ressources naturelles, droits de propriété et gouvernance. Mesures d’imposition sur la pêche et la société aquacole de la région du lac Poyang 鄱陽 au cours des dynasties des Ming (1368-1644) et des Qing (1644-1911)“. Cahiers d'Extrême-Asie 31, Nr. 1 (2022): 219–49. http://dx.doi.org/10.3406/asie.2022.1595.

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Les documents concernant les pêcheurs du lac Poyang 鄱陽湖, dans la province du Jiangxi 江西 , constituent de précieux matériaux pour reconstituer l’histoire de ces communautés. Les archives proviennent principalement de quatre familles de pêcheurs : les Yuan 袁 et les Wang 王 de Kangshan 康山, dans le district de Yugan 餘干 ; les Cao 曹 de Xiyuan 西源 et les Zou 鄒 de Beishan 北山, dans le district de Duchang 都昌. Ces textes représentent au total plus de 1500 pages. Outre les contrats de négoce des lieux portuaires et des étendues herbeuses, ainsi que des conventions et accords concernant la règlementation des pratiques sur les sites de pêche, ces documents contiennent aussi des livres de recension des impôts de la pêche et un nombre important d’attestations d’impôts. On trouve également beaucoup d’écrits concernant des litiges. Tous ces textes renseignent sur l’histoire des rapports continus entre les différentes communautés de pêcheurs quant aux questions portant sur « l’acquisition, la conservation et la transmission des droits de propriété aquatiques et sur les étendues herbeuses » de la fin des Ming au début de la République (1911-1949).

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Wang, Yusu. „On the Implication of Spirituality Theory in Yuan Mei’s Poems“. BCP Education & Psychology 10 (16.08.2023): 340–45. http://dx.doi.org/10.54691/bcpep.v10i.5404.

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As a representative poet and essayist in the Qianjia period of the Qing Dynasty, Yuan Mei who styled himself Zicai with Jianzhai as his courtesy name was a scholar at the beginning and had a good reputation in his official career. However, he resigned and lived in seclusion in the 14th year of the Qianlong period after witnessing some challenges. Advocating the “spirituality” (Spirituality theory is an idea of poetry inditement and comment in ancient Chinese poetics, which is advocated most strongly by Yuan Mei in Qing Dynasty. It is one of the four major schools of poetry theory in the early Qing Dynasty, together with verve theory, style theory, and texture theory) of poetry inditement, Yuan Mei paid attention to expressing the author’s true emotion and personality. “Spirituality” put forward by him attacked the popular retro-ism and formalism in poetry at that time, which was of progressive significance, although it had limitations due to its overemphasis on subjective emotion. This paper will analyze Yuan Mei’s spirituality theory from the image and emotion of Yuan Mei’s poetry inditement.

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Yap, C. T., und Younan Hua. „Principal Component Analysis of Chinese Porcelains from the Five Dynasties to the Qing Dynasty“. Zeitschrift für Naturforschung A 47, Nr. 10 (01.10.1992): 1029–33. http://dx.doi.org/10.1515/zna-1992-1004.

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AbstractThis is a study of the possibility of identifying antique Chinese porcelains according to the period or dynasty, using major and minor chemical components (SiO2 , Al2O3 , Fe2O3 , K2O, Na2O, CaO and MgO) from the body of the porcelain. Principal component analysis is applied to published data on 66 pieces of Chinese procelains made in Jingdezhen during the Five Dynasties and the Song, Yuan, Ming and Qing Dynasties. It is shown that porcelains made during the Five Dynasties and the Yuan (or Ming) and Qing Dynasties can be segregated completely without any overlap. However, there is appreciable overlap between the Five Dynasties and the Song Dynasty, some overlap between the Song and Ming Dynasties and also between the Yuan and Ming Dynasties. Interestingly, Qing procelains are well separated from all the others. The percentage of silica in the porcelain body decreases and that of alumina increases with recentness with the exception of the Yuan and Ming Dynasties, where this trend is reversed.

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Yuan, Chuanchuan, und Mu Jiang. „Migration and Land Exploitation from Yuan to Qing Dynasties: Insights from 252 Traditional Villages in Hunan, China“. Sustainability 15, Nr. 2 (05.01.2023): 1001. http://dx.doi.org/10.3390/su15021001.

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This paper investigates 252 traditional villages in Hunan, China, and uses ArcGIS and Geodetector to analyze village expansion and land exploitation from the Yuan dynasty to the Qing dynasty caused by factors such as migration during China’s middle and late imperial periods. This article demonstrates the development of land by the earlier settlers of ancient Chinese villages and shows the progression from easily exploited flatlands to more difficult-to-exploit mountainous areas. It also shows that early settlers relied more on natural factors when establishing their villages during the Yuan Dynasty but relied more on factors such as transportation due to the migration policies introduced during the Ming and Qing Dynasties. This paper will help us to determine the migration dynamics of ethnic groups and the distribution of settlements in the region (Hunan region) during the Yuan, Ming, and Qing eras.

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Polit, Jakub. „Pożegnanie z łotrem? Yuan Shikai w świetle nowych badań“. Prace Historyczne 147, Nr. 3 (2020): 505–27. http://dx.doi.org/10.4467/20844069ph.20.028.12482.

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Parting with a villain? Yuan Shikai in light of new research Yuan Shikai, the military strongman of late Qing Empire, talented administrator and reformer, crucial figure during the 1911 (Xinhai) Republican Revolution, president with dictatorial power and, finally, a self-proclaimed emperor, is the most controversial figure of 20th-century China. After his death during the civil war that his actions provoked, historiography (communist and non-communist) portrayed Yuan as traitor and chief villain. In following years Yuan was almost unanimously denounced by Soviet (S.L. Tikhvinsky, O. Nepomnin) and Western (L. Sharman, E. Hummel) historiography. His first biography, written by Jerome Ch’en in 1960, fully upheld this portrait. Significant studies (1968 and 1977) of Ernest P. Young, based on important primary sources, went unnoticed at the time. It was also the case with Stephen McKinnon’s volume on Yuan as brilliant Qing official in Tianjin and Beijing between 1901 and 1908. During the two last decades of the 20th century some smaller studies changed this unfavorable portrait. In the eyes of Marie-Claire Bergère, Madleine Ch’i, Luke Kwong and Henerietta Harrison, Yuan appears as a far-sighted statesman and defender of Chinese raison d’état. The last biography written by Patrick Fuliang Shan portrays Yuan as an extremely power-hungry and astute politician and as a conservative reformer and modernizer, at the same time. His political failure was both his personal tragedy and a catastrophe of the Chinese nation.

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Nyanchen, Zhen. „THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES“. Scientific and analytical journal Burganov House. The space of culture 16, Nr. 3 (10.09.2020): 134–44. http://dx.doi.org/10.36340//2071-6818-2020-16-3-134-144.

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In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.

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Xing, Siyuan. „The Lexicalization of “Bao Buzhu”and Motivation of Evolution“. BCP Education & Psychology 4 (31.05.2022): 321–31. http://dx.doi.org/10.54691/bcpep.v4i.867.

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The first appearance of “Bao Buzhu” was at the end of Yuan Dynasty and the beginning of Ming Dynasty, “Bao Buzhu”, as a verb phrase, acted as predicate element in a sentence. At Qing Dynasty, “Bao Buzhu” still be a verb phrase, at this moment, “Bao Buzhu” [+hope] semanteme disappeared; The next evolution of “Bao Buzhu” was from verb phrase to an adverb, when Qing Dynasty ended and the Republic of China began, this usage became popular, and it means speculation. From Yuan Dynasty to now, because of the usage of verb phrase become popular, “Bao Buzhu” had become a verb right now. We think the evolve reason of “Bao Buzhu” is the change of syntactic structure, frequency of utilization, reanalyze, semantic grammaticalization and the effect of language environment.

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Lam, Tong. „Policing the Imperial Nation: Sovereignty, International Law, and the Civilizing Mission in Late Qing China“. Comparative Studies in Society and History 52, Nr. 4 (Oktober 2010): 881–908. http://dx.doi.org/10.1017/s0010417510000496.

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On 15 August 1902, a battalion of Chinese police officers under the command of Superintendent Zhao Bingjun marched into city center of Tianjin and toward the Yamen Complex, the ceremonial site where the Eight Power Alliance was handing back the city to Governor General Yuan Shikai after two years of occupation following the Boxer Uprising. As they approached the complex, allied officials and commanders, standing with Yuan Shikai and his entourage under a “Friendship Forever” banner, were shocked and dismayed. As one of the preconditions for its resumption of the control of the city, the Qing government had agreed to the allied demand that its troops would not enter the vicinity of Tianjin, and some allied officials had even thought that Yuan would be compelled to beg the allied forces to stay and continue to maintain law and order. Yuan Shikai's sudden show of forces was a slap in their faces and potentially a violation of an international agreement. “What is the meaning of this?” asked an allied representative with raised voice. “Look carefully. These are not troops,” Yuan replied with a smirk, “They are policemen.” Not knowing what to do, allied officials pointed fingers at each other, blaming the stupidity of those who had designed the agreement. “It is not we who are stupid,” one said, “It is Yuan Shikai who is so cunning.”

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Wang, Yanning. „Fashioning Voices of Their Own: Three Ming-Qing Women Writers’ Uses of Qu Yuan’s Persona and Poetry“. Nan Nü 16, Nr. 1 (10.09.2014): 59–90. http://dx.doi.org/10.1163/15685268-00161p03.

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This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.

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Mehr Quellen

Dissertationen zum Thema "Des Yuan aux Qing"

Zheng, Yongsong. „Blanc de Chine (1490-1949) : l'odyssée de la porcelaine de Dehua“. Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL008.

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Traduite telle quelle en chinois moderne, Zhongguo bai 中國白, l'expression « blanc de Chine » sert aujourd'hui à désigner la porcelaine blanche provenant des fours de Dehua, dans la province côtière du Fujian, où elle est fabriquée depuis la dynastie des Ming (1368-1644). Malgré sa présence marquée dans les collections françaises, la recherche spécifique sur cette porcelaine est très limitée, laissant ouvertes les questions d'identification, de provenance et de datation. Cette thèse vise donc à proposer une nouvelle synthèse sur cette porcelaine, partant de sa réception en Europe, puis de sa diffusion pour remonter jusqu'à sa production. Bien qu'inhabituel ou apparemment inversé dans sa logique, cet itinéraire ouvre progressivement la voie à une série de questionnements, ce qui permet de nous guider progressivement jusqu'au berceau même de cette porcelaine. Toutefois, l'ambition de cette thèse n'est pas d'écrire une histoire complète du blanc de Chine, mais plutôt de croiser les perspectives mondiale et locale afin de replacer cette porcelaine dans son contexte propre. Une question fondamentale, bien que paraissant à première vue simple et déjà largement abordée, imprègne l'ensemble de cette étude : quelles sont les spécificités du blanc de Chine ? Autrement dit, qu'est-ce qui définit véritablement un blanc de Chine ? Deux résultats tangibles de cette enquête seraient, entre autres, de contribuer à la mise en valeur des collections françaises et de faire reconnaître la valeur patrimoniale des fours-dragon, dont les techniques artisanales de construction et de cuisson sont aujourd'hui menacées de disparition
Translated as Zhongguo bai 中國白 in modern Chinese, the term “blanc de Chine” today refers to the white porcelain produced in Dehua kilns, situated in Fujian's coastal province, where production has continued since the Ming dynasty (1368-1644). Despite its prominent presence in French collections, research specifically dedicated to this porcelain remains limited, leaving key questions about its identification, origin, and dating unresolved. This dissertation, therefore, seeks to offer a new synthesis on blanc de Chine, beginning with its reception in Europe, then examining its dissemination, and finally tracing it back to its origins in production. Though unconventional or seemingly reversed in approach, this trajectory gradually brings us to essential questions, ultimately guiding us back to the origins of this porcelain. The aim of this dissertation is not, however, to write a complete history of blanc de Chine. Instead, it endeavors to integrate global and local perspectives to place this porcelain within its unique historical context. One fundamental question—simple in appearance yet widely debated—shapes this study: What are the specific characteristics of blanc de Chine? In other words, what precisely defines blanc de Chine? Among the tangible goals of this work are to enhance the appreciation of French collections and to promote the cultural value of dragon kilns, whose artisanal construction and firing techniques face extinction today

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Yu, Kwok Fai. „Xu Xueyi "Shi yuan bian ti" qing yu shi ge yuan liu yan jiu /“. View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20YU.

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Mak, Yan Yan. „Cong xiao shuo dao dian ying : lun "Qing cheng zhi lian" yu "Ban sheng yuan" /“. View Abstract or Full-Text, 2002. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202002%20MAK.

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Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2002.
Includes bibliographical references (leaves 276-289). Also available in electronic version. Access restricted to campus users.

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Liu, Jinyi. „Zhang Yuan (1885-1919): Constructing a Public Garden in Cosmopolitan Shanghai“. Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493889997657783.

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Määttä, Maarit. „Strange Spirits : – Possession and the queering of gender and other social positions in Yuan Mei’s Zibuyu“. Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411564.

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This thesis explores a Qing dynasty collection of stories about ghosts and other strange events written by Yuan Mei (1716–1798). The thesis focuses on a number of stories about possession of living persons by spirits, which are studied with the help of Sara Ahmed’s queer phenomenology. By studying stories in which the living and the dead and men and women’s identities overlap while they are possessed, we gain greater understanding about hierarchical relations during Qing dynasty, and how these stories both support and question these.
Uppsatsen studerar en samling av berättelser om spöken och andra ovanliga händelser skriven av Yuan Mei (1716–1798) under Qingdynastin i Kina. Uppsatsen fokuserar på ett antal berättelser där andar tagit en människa i besittning, som studeras med hjälp av Sara Ahmeds queer fenomenologi. Genom att studera berättelser om de levande och döda samt män och kvinnor vars identiteter överlappar vid besittningar, får vi bättre förståelse över hierarkiska relationer under Qingdynastin och hur berättelserna både stödjer och ifrågasätter dessa.

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Hu, Xingdong. „Sheng cun fan shi li xing yu chuan tong : Yuan Ming Qing shi qi nan fang min zu fa lü bian qian yan jiu /“. Beijing : Zhongguo she hui ke xue chu ban she, 2005. http://catalog.hathitrust.org/api/volumes/oclc/68159992.html.

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Li, Liming. „Cong gong jiang dao yi shu jia : Qing mo yi lai Guangdong Shiwan tao ci cong ye yuan de shen fen di wei jian gou /“. View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20LI.

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Wang, Xiaoning. „Zhongguo gao deng yuan xiao zhu fang zheng ce : Beijing Qing hua da xue ge an yan jiu = Housing policy in China's higher education institutes : a case study of Tsinghua University in Beijing /“. click here to view the abstract and table of contents, 1998. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17040747a.pdf.

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Gardères, Paul. „Recomposer l'ordre du monde impérial : romans sur l'histoire dynastique et discours néo-confucéens des années 1630 aux années 1730“. Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN029/document.

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Cette thèse se propose d’étudier un ensemble de romans portant sur l’histoire dynastique,composés entre les années 1630 et les années 1730. Nous lisons ces œuvres à partir de la notion de monde impérial, en désignant par ce terme les représentations du réel où l’institution régnante sert de point de repère, aussi bien pour s’orienter dans l’espace et dans le temps, que pour expliquer les mouvements d’ordre et de désordre qui affectent l’ensemble des vies. L’objet central de cette étude est de saisir ce qui vacille et se transforme dans les manières d’ordonner des mondes impériaux au sein des romans composés durant cette période.Pour ce faire, nous nous proposons de relire ces œuvres à partir d’une série de ruptures qui travaillent les usages ou les conceptualisations de notions clés du discours néo-confucéen :les deux couples guo 國 et tianxia天下 (monde et dynastie), su 俗 et minjian 民間(vulgaire et populaire), et les trois notions de yanyi 演義 (développement du sens/ histoire exemplaire), zhi 知 (l’étape ultime du discernement) et gong 公(sens public). Une telle approche nous permet de mettre en évidence des liens qui restaient invisible dans le discours critique entre les romans sur l’histoire dynastique et un ensemble d’évolutions sociales et intellectuelles qui ont lieu entre les années 1630 et les années 1730, et qui touchent à des objets aussi divers que l’organisation spatiale et ethnique de l’empire, les formes d’activisme social, ou les termes dans lesquels sont pensés les discours moraux, et historiographiques.Corpus principal : Écrits oubliés des Sui (Suishi yiwen隨史遺文，préface 1633) ;Deuxième collection du Lac de l’ouest (Xihu erji 西湖二集, années 1640) ;Second bord de l’eau (Hou Shuihu zhuan後水滸傳，fin des Ming, début des Qing) ;Histoire exemplaire et vulgarisée du bûcheron (Qiaoshi tongsu yanyi樵史通俗演義, début desQing) ; Suite au bord de l’eau (Shuihu houzhuan水滸後傳，préface 1664) ; Histoire exemplaire des Sui et des Tang (Sui Tang yanyi隋唐演義, préface 1695) ;Histoire non-officielle des immortelles (Nüxian waishi女仙外史, préface 1711) ; Récit complet des Tang (Shuo Tang quanzhuan 說唐全傳, années 1730)
This dissertation deals with a set of novels about dynastic history written between the 1630sand the 1730s. My point of departure is the following : A) I study the way these novels structure representations of the imperial world – that is,representations of space, time, and social order that are organized in reference to the imperialinstitution.B) I reinsert these representations of the imperial world within contemporary ru (儒Neo-confucian) discourses. I do so by focusing on the way five notions or set of notions, thatare both central to ru discourses and to these novel are conceptualized and used : the twinnotions of guo (國 “imperial institution” / “country”) and tianxia (天下 “the world”) ; su (俗“vulgar”) and minjian (民間 “popular”); the notions of yanyi (演義 “development ofmeaning”, “exemplary narrative”); gong (公, “public”) ; and zhi (知 “moral recognition”). In doing so, this dissertation highlights a web of connections that were previouslyinvisible between novelistic representations of the imperial world and a set of evolutions withinthe ru world that are contemporary to the writing of these novels.Main primary sources : Forgotten Tales of the Sui (Suishi yiwen 隨史遺文，preface 1633) ; Second West Lake Collection (Xihu erji 西湖二集, ca1640) ; Second Water Margins (Hou shuihu zhuan後水滸傳 late Ming- early Qing ) ; Exemplary and Popularized History of the Woodcutter (Qiaoshi tongsu yanyi樵史通俗演義,early Qing) ; A sequel to the Water Margins, (Shuihu houzhuan水滸後傳，preface 1664) ; Exemplary History of the Sui and Tang ( Sui Tang yanyi 隋唐演義, preface 1695) ; Non-Official History of the Female Immortals (Nüxian waishi女仙外史, preface 1711) ; Complete History of the Tang (Shuo Tang quanzhuan說唐全傳, ca 1730)

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范旭艷. „和會三教: 劉沅與晚清儒學的轉變= Integrating the three teachings: Liu Yuan and the transition of Confucianism in late Qing period /范旭艷“. HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/355.

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In late Qing period（1800-1911）, Confucianism confronted challenges from different aspects.Thus,the transition of Confucianism was the main concert at that time.The method of transition varied in different areas. This thesis focous on the transition of Confucianism in Sichuan province. Liu Yuan (1768-1855) ,who was called "the Confucius in western Sichuan", was a typical case to indicate the transition of Confucianism in Sichuan province.He integrated the three teachings to reestablish the orthodoxy of sagehood(sheng xue聖學正統)，which was the main feature of his intellectual thought. Specifically speaking, the following questions are the main concerns of the author. Firstly , why and how did Liu Yuan integrate the three teachings? Secondly, by integrating Taoism and Buddhism into Confucianism, what peculiarity did he transform into Confucianism? Thirdly, through the case study of Liu Yuan, what intellectual features of Sichuan scholars can we observe? There is a consensus that the integration of the three teachings is the most typical characteristic of Liu Yuan's intellectual thought. However, from different angles, different scholars came to opposite conclusions. Generally speaking, those who consider Liu Yuan as a Taoist highly evaluated him.Whereas, those who judged from the angle of Confucian philosophy consider him unrespectable. Given the opposite evaluations, this thesis proposes a syncretic perspective to establish a whole view, which brings up some basic questions to be clarified at the first place, namely the aim and the rationality of the whole syncretic system. Then, how Liu Yuan interpreted self-cultivation, the core of his integration, and how his interpretation influenced Confucianism are the following questions .The first and last chapters are the instruction and conclusion, which raises research questions and summarizes the arguments of the thesis respectively. Chapter two and three focus on the reason and rationality of integration. The juxtaposition of Confucianism, Taoism and Buddhism was to distinguish the orthodoxy from heterodoxy, rather than to assimilate the three teachings indiscriminately. Liu Yuan challenged the criticism of the unreasonability and superficiality of integration, which is one of the contributions of Liu Yuan in intellectual history. To prove the rationality of integration, Liu Yuan interpreted the images of sages (Kongzi and Laozi) as a fuse of Taoist and Confucian characters. Besides, he maintained the traditional notion that Kongzi learnt from Laozi. Based on the foundation of the previous two chapters, chapter four to seven focus on the spread of self-cultivation (Gongfu 功夫), the core of Liu Yuan's integration. Rethinking the way of self-cultivation arose by Neo-Confucianism, Liu Yuan argued that the knowledge of sages was not limited to Confucianism, let alone Neo-Confucianism, so was the pathway of self-cultivation. Furthermore, his reinterpretation of the way of restoring human nature (復性) combined Confucian and Taoist methods. The three teachings were integrated into his new construction, which resulted in the transformation of exegetical strategy of Confucian cannon and the method of self-cultivation, the most important topics of Confucianism. Confucian cannon was viewed as an allegory, whose meaning can never be attained by philological or philosophical approaches. As for self-cultivation, traditional methods of Confucianism such as accomplishing human nature (Jin Xing盡性)and performing ritual responsibility (Dun Lun敦倫)were both reinterpreted. To sum up, Liu Yuan was a practitioner of Confucianism in Sichuan province.By interpreting Confucian classics in a pragmatic fashion, he reestablished the sage orthodoxy ,which was integrated by Confucianism, Taoism and Buddihism. Through the case study of Liu Yuan, we can come to a conclusion that mysterious but not empty was the main feature of Confucianism in Sichuan province = 晚清時期（1800-1911），儒學的傳統價值體系面臨著巨大的挑戰。如何改寫舊傳統，以形塑新傳統，是儒學轉型時期的核心命題。其中，在不同的地域，表現出不同的轉型路徑。本文以劉沅爲研究對象，聚焦於晚清時期的四川儒學。劉沅（1768-1855）被稱作「川西夫子」，其思想可作為四川儒學的典型代表。本文將揭示其重建「聖學正統」的學術關懷，從學術思想史的角度，把握其和會三教思想的特色。本論文將完成以下預期目標：第一，從三教交涉視角出發，定位劉沅的學術思想。其在儒學史上的重要意義在於功夫論的重鑄。第二，探討劉沅「和會三教」思想，對儒家解經方法與修養方法的轉變。第三，從劉沅「和會三教」思想中，把握蜀地「玄而不虛」的學風。「和會三教」是劉沅學術思想的最突出的特徵，學界對此持一致的看法。然而，現代學者從三教中儒家或道教的角度出發，對劉沅的評價眾說紛紜。從儒家視角出發，劉沅被指責在理論上並無大的推進。從道教視角出發，則認為劉沅創立劉門教，是相當重要的宗教家。針對此現狀，本文認為由於劉沅提倡「和會三教」，單一的儒學或者道教視角並不能把握劉沅思想的全貌。因此，本文從三教交涉視角出發，研究劉沅學術思想，及其中所反映出來的晚清儒學的轉變。從和會三教視角出發，首先回應劉沅為什麼要提出「和會三教」，以及怎樣證明三教間可和會的合理性這兩個問題。此爲劉沅建構新思想體系的平台。繼而，劉沅之和會三教，對傳統儒學命題帶來什麼轉變？此爲劉沅思想的獨特之處。「和會三教」既是本文的視角，也是貫穿全文的思想脈絡。本文除第一章緒論與最後一章結論外，正文部分共分為六章。第二、三章先對劉沅和會三教的動機以及其合理性加以申論說明，此爲劉沅所建構的新思想體系平台。文章開宗明義地指出，劉沅提倡「和會三教」的出發點是重建三教融會的聖學正統。和會三教，並非把三教不加分辨地融合爲一體，而是從中辨明正統與異端的界限。爲了論證聖學正統的合理性，劉沅從文獻記載中老孔間的師承關係出發，通過儒家、道家雙方的各自展述，而使得儒道兩家聖人融為一體。第四至七章，從劉沅「和會三教」的核心之處----功夫論出發，探討劉沅如何重鑄功夫論，及其對儒學傳統的內涵所帶來的轉變。對宋明理學功夫的反思，是重鑄功夫論的思想背景。在此基礎上，劉沅融合儒道思想而重鑄復性功夫。其所重鑄之功夫論在解經方法、修養方法兩方面改變了儒學的傳統內涵。解經方法方面，訓詁、義理的方法都不足以得到聖人真義，而提出實踐聖人之事的「身心實功」的解經方法。修養方法方面，論證劉沅對儒學的轉變。儒家的內在心性、外在的倫常秩序，都被改變。擴而言之，從修養方法中，還可以看出儒道、儒佛間的會通與界限。通過對劉沅儒學思想的分析與定位，從中可以看到晚清儒學在四川這一特定地域中展現的獨特性。和會三教思想中體現出劉沅重建聖學正統的學術關懷。他以「身心實功」爲解經方法，重整儒道釋三教的思想資源，尤重盡性、敦倫兩方面的實踐，是一位通過詮釋儒家經典，在川地推行儒家道德倫常的實踐者.

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Bücher zum Thema "Des Yuan aux Qing"

Wang, Jibin. Qing qing yuan shang cao. Dalian Shi: Dalian chu ban she, 1999.

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Anqi, Zhuang, Hrsg. Miqilin qing yuan. Taibei Shi: Shi bao wen hua chu ban qi ye gu fen you xian gong si, 2011.

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lian, Yi meng wen, Hrsg. Gao yuan qing. Huhehaote Shi: Nei Menggu ren min chu ban she, 1987.

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Zi, Yang. Gu yuan qing. Jiulong: Shen Yuanfang, 1996.

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Li, Yingfu. Youyang qing yuan. Beijing: Ke xue chu ban she, 2009.

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xian, Zhang zong. Ku qing yuan. Bei jing: Ta zhong wen yi chu ban she, 2008.

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Tang, Lusun. Gu yuan qing. Taibei Shi: Da di, 2020.

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Tang, Lusun. Gu yuan qing. Taibei Shi: Da di, 2020.

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Huang, Junxian. Qing hua yuan cang Yuan Ming qing hua ci. Wuhan: Hubei mei shu, 2005.

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Minggui, Dai, und Xu Jiangdu, Hrsg. Yuan yuan, qing yuan: Jiangshan yu Taiwan. Beijing Shi: Zhongguo wen shi chu ban she, 2011.

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Ge, Zhaoguang. „Das Dilemma von „China“: Die Beziehungen von „innen“ und „außen“ im Lichte der neuzeitlichen Geschichte Chinas“. In Im Spannungsverhältnis zwischen Selbst- und Fremdverstehen, 45–76. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-40031-6_3.

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ZusammenfassungDer Beitrag setzt sich mit dem sogenannten „dreifachen Dilemma von China“ auseinander, das sich aus den zentrifugalen Bestrebungen seiner Nachbarn, dem Einfluss der modernen westlichen Strömung und der internen Identität der verschiedenen ethnischen Gruppen und Regionen ergibt. Aus der historischen Perspektive, die im China der Song-Dynastie eine Entwicklung vom Imperium zu einem begrenzten Staat und in den nachfolgenden Dynastien Yuan, Ming und Qing eine Entwicklung zu einem multiethnischen Imperium in einem sich verändernden internationalen Umfeld sieht, wird für eine Bekennung Chinas zur gemeinsamen Zivilisation und Weltordnung argumentiert.

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Wei, Weixiao. „Yuan–Ming–Qing Dynasties“. In The History of Chinese Rhetoric, 117–45. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003206279-7.

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Leonard, Jane Kate. „Qing History, Wei Yuan and Contemporary Political Dialogue“. In New Directions in the Social Sciences and Humanities in China, 28–46. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08077-9_2.

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„Domesticating the Woman Warrior: Comparisons with Jinghua Yuan“. In Men and Women in Qing China, 87–112. BRILL, 1994. http://dx.doi.org/10.1163/9789004482715_009.

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„Die Dynastien Yuan und Qing im Blickfeld Politischer Strategie“. In Beiträge zur Mandschuristik und Mongolistik und ihrem Umfeld, 163–85. Harrassowitz, O, 2015. http://dx.doi.org/10.2307/j.ctvc16rqw.11.

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„Sun Yat-sen: “Three Stages of Revolution”“. In Milestone Documents in World History. Schlager Group Inc., 2024. https://doi.org/10.3735/9781961844056.book-part-112.

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After the abdication of the Qing (Manchu) Empire in 1911, a Republic was established in China under the provisional leadership of the political philosopher Sun Yat-sen. Circumstances forced Sun to hand over the presidency to Yuan Shikai (1859–1916), a Beijing warlord and Qing official, in exchange for the promise of the Qing Emperor’s abdication. Sun had long been recognized as the architect of republicanism in China, having been a revolutionary-in-exile for decades, and the foremost ideologue of modern state formation in China throughout the latter years of Manchu rule. Leadership of the new republic ought to have fallen to him and would have if the concerns of “realpolitik” had not intervened.

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Li, Jinming. „The South China Sea in Song-Yuan-Ming-Qing China“. In China’s Maritime Boundaries in the South China Sea, 21–36. Routledge, 2020. http://dx.doi.org/10.4324/9781003090151-4.

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Din, Herminia, Darrell L. Bailey und Fang-Yin Lin. „USING NEW MEDIA FOR EXHIBIT INTERPRETATION: A CASE STUDY, YUAN MING YUAN QING EMPERORS' SPLENDID GARDENS“. In Digital Heritage and Culture, 131–48. WORLD SCIENTIFIC, 2014. http://dx.doi.org/10.1142/9789814522984_0010.

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Sun, Chengjuan. „Xi Peilan’s Remedy to Yuan Mei’s Xingling Poetics and Refashioning of Conjugal Poetry“. In Women as Writing Subjects in High Qing China, 31–67. BRILL, 2024. http://dx.doi.org/10.1163/9789004706989_003.

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„Jinghua yuan Where the Late Late Ming Meets the Early Late Qing“. In Dynastic Crisis and Cultural Innovation, 264–93. BRILL, 2005. http://dx.doi.org/10.1163/9781684174140_009.

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Konferenzberichte zum Thema "Des Yuan aux Qing"

Apatóczky, Ákos Bertalan. „Changes of Ethnonyms in the Sino-Mongol Bilingual Glossaries from the Yuan to the Qing Era“. In 7thInternational Conference on the Medieval History of the Eurasian Steppe. Szeged: University of Szeged, 2020. http://dx.doi.org/10.14232/sua.2019.53.45-58.

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Wei, Hui. „The Inquiry in to Life Through the Art of Chinese Penjing“. In 5th World Conference on Arts, Humanities, Social Sciences and Education, 105. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-068.

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This research aims to explore the encounters and coexistence of Confucianism, Taoism, and Buddhism existentialism, along with aesthetic philosophies, as the framework. Additionally, it involves comparative reflections with Western aesthetics to examine the convergence, fusion, symbiosis, and development of various schools of Chinese penjing across different temporal contexts—Sui-Tang, Song, Yuan, Ming, Qing, modern, and beyond China's borders. The study seeks to interpret the plant species, design aesthetics, and aesthetic sentiments of Chinese penjing under indigenous philosophies. It aims to reveal the sensibilities and intuitive thoughts of people from different social classes throughout Chinese history in their worldly lives, as well as their contemplations on the meaning of life. Furthermore, the research attempts to propose possibilities for the dynamic balance between the historical inheritance and development of Chinese visual culture and arts. Keywords: Chinese penjing, Confucianism, Taoism, Buddhism, Temporality, Cultural Heritage.

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Feng, Di, Shang-chia Chiou und Feng Wang. „The Cognition of Local Cultural Heritage under the Background of Landscape Narrative Analysis: A Case Study of Qing-yan Yuan in China“. In 3rd IEEE International Conference on Knowledge Innovation and Invention 2020 (IEEE ICKII 2020). WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811238727_0078.

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Steinschaden, Sigrid. „Philosophy of Being - The Franciscan Mission in Yuan-, late Ming-, and Early Qing- Dynasty China as an Example of Cultural and Intercultural Approaches“. In 2013 International Conference on Education, Management and Social Science. Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icemss.2013.60.

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Baldanmaksarova, Elizabeth. „MEDIEVAL MONGOLO-CHINESE LITERARY RELATIONSHIPS“. In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.32.

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The article is devoted to the study of Mongolian-Chinese literary relations during the Middle Ages. The literary process of medieval Mongolia is characterized by the development in a wide context of literary and cultural relationships with the literatures of Central Asia, South Siberia and the Far East, which was due to both the geographical location and the socio-political situation of the country, starting from the 13th century. When studying the problems of Mongolian-Chinese relations, it is important for us to consider the creative synthesis of two neighboring cultures, which stimulates the development and mutual enrichment of literary and folklore traditions. Mongolian-Chinese literary relations are characterized by development in two stages. The first stage is associated with the formation of the Yuan dynasty of the Mongols in China (1271–1368). It was during this period that the foundations were laid for the unification, synthesis of two different cultures within the framework of one state and the further development of the process of historical and cultural relations. The second stage is characterized by the entry of Mongolia into the Manchu Qing Dynasty of China (1644–1911). It was during this period that the synthesis of the Mongolian-Chinese folklore and literary traditions reached its apogee: a new genre appeared called “book tale” (bensen uliger); numerous translations of Chinese narrative prose, in particular novels, lead to the creation of the genre of the novel — historical, family and everyday — in Mongolian literature. A notable achievement in this genre was the work of the outstanding writer, the first Mongolian author of novels, V. Injannash.

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