Thematische Bibliographien / From Yuan to Qing dynasties

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „From Yuan to Qing dynasties“

Autor: Grafiati
Veröffentlicht am 29. März 2025

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Zeitschriftenartikel zum Thema "From Yuan to Qing dynasties"

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Yap, C. T., and Younan Hua. "Principal Component Analysis of Chinese Porcelains from the Five Dynasties to the Qing Dynasty." Zeitschrift für Naturforschung A 47, no. 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 appre
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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, no. 3 (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 dy
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Wang, Tongxin. "History of Chinese Classical Gardens." International Journal of Education and Humanities 4, no. 3 (2022): 235–37. http://dx.doi.org/10.54097/ijeh.v4i3.1814.

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From the beginning of Shang Dynasty to the end of Qing Dynasty the development of Chinese classical landscape gardens went through five periods: the formation period of Shang, Zhou, Qin and Han Dynasties, the transition period of Wei, Jin, Southern and Northern Dynasties, the heyday of Tang Dynasty, the maturity period of Song, Yuan, Ming and Qing Dynasties, and the middle and end of Qing Dynasty. Five thousand years of glorious Chinese culture makes Chinese classical gardens different from Western gardens and Islamic gardens. The unique garden system and style give rise to the unique and prof
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Yuan, Chuanchuan, and Mu Jiang. "Migration and Land Exploitation from Yuan to Qing Dynasties: Insights from 252 Traditional Villages in Hunan, China." Sustainability 15, no. 2 (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 Dy
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Ziyu, Lju. "述补结构与处置式发展关系初探". Cahiers de Linguistique Asie Orientale 36, № 2 (2007): 187–218. http://dx.doi.org/10.1163/19606028-90000170.

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This article investigates the development of verb complement structures and the disposal form in terms of their combination and interaction, from the Six Dynasties to the Qing dynasty. The process of grammaticalization of the disposal form began in the Six Dynasties, developed throughout the Tang and Song Dynasties and gradually took shape during the Yuan and Ming Dynasties, finally being completed in the Qing Dynasty. It is suggested that the emergence of the verb complement structure accelerated the process of grammaticalization of the disposal construction in its present form, testified by
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Yap, C. T., and Younan Hua. "Raw Materials for Making Jingdezhen Porcelain from the Five Dynasties to the Qing Dynasty." Applied Spectroscopy 46, no. 10 (1992): 1488–94. http://dx.doi.org/10.1366/000370292789619386.

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This is a study of 66 pieces of Jingdezhen porcelain bodies and their relation to 13 raw materials, three of which are kaolin and the rest porcelain stones from Jingdezhen. For Jingdezhen porcelains, the results show that the alumina content increases and silica content decreases as a function of time, except during the Yuan and Ming Dynasties, when this trend was reversed. For raw materials, although kaolin could never be used alone for porcelain production, four of the porcelain stones could be used alone for this purpose during the Five Dynasties and part of the Song Dynasty. However, all p
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Chen, Andrea. "Silk Road Influences on the Art of Seals: A Study of the Song Yuan Huaya." Humanities 7, no. 3 (2018): 83. http://dx.doi.org/10.3390/h7030083.

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Song Yuan Huaya (the Huaya of the Song and Yuan Dynasties) is a type of seal featuring figurative patterns and sometimes decorated with ciphered or ethnic characters. Their origins are the Song and Yuan Dynasties, although their influence extends to the Ming (1368–1644 CE) and Qing (1644–1912 CE) Dynasties. Although it is based on the Chinese Han seal tradition, Song Yuan Huaya exhibits various elements from the influence of the Silk Road. This is thought to be the first time in Han seal history that the Steppe culture can be seen so abundantly on private seals. This paper takes an interdiscip
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Wang, Shutong. "The evolution of the coloristic of Chinese painting of the Tang, Song and Yuan periods (VII-XIV centuries) — from color to ink." Культура и искусство, no. 12 (December 2024): 56–67. https://doi.org/10.7256/2454-0625.2024.12.72405.

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The article examines changes in the coloristic of Chinese painting during the Tang, Song, and Yuan dynasties, highlighting the influence of these dynastic shifts on the development of the painting palette. The focus of the research is on the tools used to study the coloristic of Chinese painting throughout its historical evolution, specifically during the Tang, Song, and Yuan periods. A significant connection exists between the subject and object of the study, evident in the transition from color to ink in Chinese painting. The study aims to explore the evolution of coloristic in these three p
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Song, Hui, Qingwen Meng, and Chenyang Wang. "Spatial Distribution Characteristics and the Evolution of Buddhist Monasteries in Xi’an City Area." Religions 14, no. 9 (2023): 1084. http://dx.doi.org/10.3390/rel14091084.

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Buddhist monasteries have played important roles in the development of both the culture of and urban planning in ancient Chinese cities. In this paper, the Buddhist monasteries in the city of Xi’an, Shaanxi Province, during the Song (宋), Yuan (元), Ming (明), and Qing (清) dynasties are collated from historical documents. The characteristics of the spatial distribution of Buddhist monasteries are analyzed by using kernel density estimation (KDE), and the evolution of that spatial distribution is explored by documentary analysis. The results show that Buddhist monasteries are closely surrounded by
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WANG, Mengkun. "The cultural thought of the new era is explained by the inheritance and development of strange novels in the Wei, Jin and the Southern and Northern Dynasties." Region - Educational Research and Reviews 5, no. 5 (2023): 249. http://dx.doi.org/10.32629/rerr.v5i5.1518.

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China's strange novels have gone through several stages from the strange stories of the Wei, Jin and the Southern and Northern Dynasties inherited from ancient myths, pre-Qin books, unofficial stories, folk stories, etc. to the prosperity and development of the Wei and Jin Dynasties, the legends of the Tang Dynasty, the vernacular books of the Song and Yuan Dynasties. And then Ming and Qing novels have made the strange stories reach their peak. The inheritance and development of China's novels in Wei, Jin and the Northern and the Southern Dynasties coincided with the new policy of promoting, d
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Dissertationen zum Thema "From Yuan to Qing dynasties"

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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 dif
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Zhou, Xiaohan. "Elements of continuity between mathematical writings from the Song-Yuan (13th - 14th Century) Dynasties and the Ming Dynasty (15th Century) : Comparing Yang Hui's Mathematical Methods (1261 C.E.) and Wu Jing’s Great Compendium (1450 C.E.)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC333.

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Le discours qui insiste sur une « rupture » entre les mathématiques de la période Song-Yuan et celles de la période Ming est très répandu dans les écrits historiques consacrés aux mathématiques en Chine. Cette thèse analyse le processus et les raisons de l’apparition de ce genre de discours, et montre que la représentation en forme de « rupture » ne se présente que lorsque les observateurs examinent les mathématiques depuis certaines perspectives. Cette thèse est consacrée à la recherche d'éléments de continuité entre les mathématiques des Ming et celles des Song et des Yuan. Les Neuf chapitre
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"Conformity and divergence: perception of garden spaces by Gong Xian and Yuan Jiang from Nanjing in early Qing dynasty." 2008. http://library.cuhk.edu.hk/record=b5893423.

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Chan, Yuen Lai.<br>Thesis submitted in: December 2007.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.<br>Includes bibliographical references (leaves 125-133).<br>Abstracts in English and Chinese ; some text in appendix also in Chinese.<br>Abstract<br>Acknowledgement<br>Table of Contents<br>Chapter 1 --- INTRODUCTION --- p.1<br>Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1<br>Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2<br>Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.
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Liu, Shu-min, and 劉淑敏. "A Study on “Sheng Yuan” in the Yangzi Delta during the Ming and Qing Dynasties: Number of Sheng Yuan and the Promotion Ratio in Officialdom." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/00737747801243678305.

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碩士<br>東吳大學<br>歷史學系<br>100<br>During the Ming and Qing Dynasties, the imperial civil service examination was the most important way to select government officials. During these years, the Yangzi Delta was prosperous and there were many candidates eager to take the examinations. Sheng Yuan were people who passed the apprentice examination. It was also a basic official rank. Sheng Yuan were also allowed to take the provincial examinations to qualify as Juren. However, most of them could never pass the examinations. As a result, a huge number of Sheng Yuan stayed in the Yangzi Delta, where they ex
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CHANG、JIA-WEI and 張家維. "A Descriptive Catalogue of the Zhi Ren Xiao Shuo from the Song、Jin and Yuan Dynasties." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/90548154154102453143.

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碩士<br>國立臺北大學<br>古典文獻學研究所<br>96<br>This research attempts to discuss the Zhi-Ren notes novels written in classical Chinese in Sung、Jin and Yuan Dynasties. The first part generates the origin of Chinese traditional novels (Xiao-Shuo) and the definition of Zhi-Ren novels (Zhi-Ren- Xiao-Shuo). Furthermore、based on 「Za-Zu」、「classical novels」 and 「Zhi-Ren novels」 in Sung、Liao、Jin and Yuan dynasties、four modern catalogues of general history of classical Chinese novels are also introduced to compare with the revised conditions of Zhongguo wen yan xiao shuo zong mu ti yao、written by Ning、Jiayu、and Zhon
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"From chromaticism to pentatonism: a convergence of ideology and practice in Qin music of the Ming and Qing dynasties." 2009. http://library.cuhk.edu.hk/record=b5896695.

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Tse, Chun Yan Victor.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2009.<br>Includes bibliographical references (leaves 204-226).<br>Photocopy. Ann Arbor, Mich. : ProQuest LLC, 2011. xi, 226 p. : music ; 29 cm.<br>Abstract also in Chinese; includes Chinese characters.<br>Abstract --- p.i<br>Abstract in Chinese --- p.iii<br>Acknowledgments --- p.iv<br>List of tables --- p.viii<br>List of graphs --- p.ix<br>List of appendices at the end of individual chapters --- p.ix<br>List of abbreviations of qin handbooks --- p.X<br>Chapter Chapter 1 --- Background of the research --- p.1<br>C
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LIN, WEI-SHU, and 林偉淑. "A Study of Time in Domestic Fiction of Ming and Qing Dynasties： Reflection on Chin Ping Mei, Xing Shi Yin Yuan, Lin Lan Xiang, and The Dream of the Red Chamber." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/73264240487890583999.

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博士<br>輔仁大學<br>中文系<br>97<br>As Chin Ping Mei, Xing Shi Yin Yuan, and the Dream of the Red Chamberto be the objects, this study is to reflect these four domestic fictions in Ming and Qing dynasties for the theme of time and cultural meanings they represented Along with readers’ prior exiting knowledge, a conception of eras which ordinarily established in domestic fictions is developing to be a metaphor of the time period. There is usually a close relationship between an individual and his family, and wax and wane in a family mainly bound with its nation; however, fatalism is not presented in the
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Ho, Hsiang-Ying, and 何湘英. "A Historical Study of Grand Unification in China-From the Qin and Han Dynasties to Late Qing Dynasty, with the establishment of Taiwan Province." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/02542590567903391769.

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碩士<br>南華大學<br>公共行政與政策研究所<br>90<br>【Abstract】 Unlike previously authored theses, which mostly focus on the thought of unification during the Qin and Han Dynasties, this thesis presents a complete historical view of the existence and progression of the Grand Unification. In order to offer the historical events and their causes, leading up to the current controversy of “one China” across the Taiwan Strait, this thesis covers the unification beginning with the Qin and Han Dynasties, and continuing until the late Qing Dynasty,.when Taiwan was established as a province. Includ
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Chen, Yun-Yu, and 陳昀瑜. "A Research on the Human Nature of Qi-based Philosophy during the Ming-Qing Transition──From Liu Zong-zhou to Ruan Yuan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/00799144597248697913.

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Lu, Tai-Kang, and 盧泰康. "A Study on the Imported Ceramics in Taiwan in the 17th Century-Exploring the History of Taiwan from Late Ming to Early Qing Dynasties through the Ceramics -." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/19884554191904939229.

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博士<br>國立成功大學<br>歷史學系碩博士班<br>94<br>This thesis is comprised of six chapters. In chapter one “Introduction”, the first section includes research methods and purposes. In accordance with the topic, the author adopts and integrates the comprehensive research approach combing three kinds of disciplines: history, archaeology and ceramic history. The author enumerates four following main points and attempts to explore them in the thesis. The historical function offers micro-observation and re-establishment. It reflects the position of Taiwan in East Asia maritime trade in the 17th century, and t
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Bücher zum Thema "From Yuan to Qing dynasties"

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translator, Li Weikun, ed. Xin yin: Zhongguo shu hua feng ge yu jie gou fen xi yan jiu = Images of the mind : selections from the Edward L. Elliot family and John B. Elliot collections of Chinese calligraphy and paintings. Shanghai shu hua chu ban she, 2016.

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Guo li gu gong bo wu yuan, ed. Gu gong Chenghua ci qi jing xuan: Essential collection of Cheng-hua porcelain ware from the National Palace Museum. Guo li gu gong bo wu yuan, 2017.

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Museu de Arte de Macau, ed. Mo ling yan yue: Nanjing bo wu yuan cang Ming mo Qing chu Jinling hua pai shu hua = Clouded moonlight : Jinling School Paintings of late Ming & early Qing Dynasties from Nanjing Museum collection = Luar enevoado : pinturas da Escola de Jinling das Dinastias Ming tardia e primaordios dos Qing da colececaao do Museu de Nanjing. Aomen yi shu bo wu guan, 2010.

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Lu, Xiande. Yuan qing hua yu Yuan dai you li hong. Shandong mei shu chu ban she, 2016.

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Li, Cheng. Qing luan xiao si tu. Wen wu chu ban she, 2017.

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Gu gong bo wu yuan (China), ed. Paintings of the Ming and Qing Dynasties. Commercial Press, 2015.

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Zhang, Junling. Zhu Jun, Bi Yuan, Ruan Yuan san jia mu fu yu Qian Jia bei xue. Zhejiang da xue chu ban she, 2014.

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editor, He Ruzhen, ed. Yuan qing hua ci de gu shi. Zhongguo mei shu xue yuan chu ban she, 2016.

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Zhuang, Ying, and Minghua Lu. Yuan qing hua: Bo wu guan hui ben. Hua dong shi fan da xue chu ban she, 2013.

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1254-1322, Zhao Mengfu, and Shanghai shu hua chu ban she, eds. Zhao Mengfu Wu xing qing yuan tu. Shang hai shu hua chu ban she, 2020.

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Buchteile zum Thema "From Yuan to Qing dynasties"

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

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Jian, Gong. "Evolution of the “Crescent Guard” in Chinese Swords." In Martial Culture and Historical Martial Arts in Europe and Asia. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_5.

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AbstractIron and steel arms appeared in China during the late Warring States while guards on Han dynasty jian (double-edged sword) mainly continued Warring States designs. Single-edged ring-pommel sword (huanshoudao) which appeared during the same period did not have a guard. During the Jin dynasty, a type of V-shape sword guard appeared, which continued into the Southern and Northern dynasties. In the Tang dynasty, on the one hand, arms design continued Northern Zhou and Sui trends; at the same time, it absorbed Turkic and Sassanid influences from the west, which gave rise to a unique Tang sword aesthetic. From then on, V-shape guards started to gain popularity in China. Developments of this style were to have a major influence on sword guard designs during the Song, as well as among the Mongols and Tibetans until it finally attained the familiar form of zoomorphic guard during the Ming and Qing dynasties.
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Shi, Yunli. "From the Western Techniques to the Imperial Techniques: Official Absorption of Western Astronomy in the Ming and Qing Dynasties." In Western Influences in the History of Science and Technology in Modern China. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7850-2_4.

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Vinci, Renata. "Why Should We Look at Chinese Sources on the Mediterranean from a Transcultural Perspective?" In Studi e saggi. Firenze University Press, 2024. https://doi.org/10.36253/979-12-215-0598-6.03.

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In the postnational era, the demand to rethink national borders and embrace inclusive sentiments of shared interests and belonging is prompting scholars to explore new avenues of research. This introductory essay positions the research project The Mediterranean through Chinese Eyes (MeTChE) within the context of recent scholarship on Sino-Western exchanges and aims to provoke debate on a new approach that integrates Chinese Studies and Mediterranean Studies. The MeTChE project seeks to understand how China perceived the Mediterranean as a transcultural space during the Imperial era, specifically from the Song to the Qing dynasties. Three key questions guide this preliminary investigation: why should we embrace the concept of a “transcultural” Mediterranean? What are the conventional methods used in researching Chinese sources on the Mediterranean, and why is a fresh approach necessary? Finally, is it appropriate to discuss a “transcultural” perception of the Mediterranean from the Chinese perspective? The analysis of Chinese sources on the Mediterranean reveals a rich tapestry of cultural interactions and exchanges. Valuable insights come from geographical works, maps, travelogues, and diplomatic accounts that shed light on how China viewed the Mediterranean. Among the notable authors are scholars such as Kang Youwei and Xue Fucheng, whose writings serve as case studies in this essay, as they weave ancient Mediterranean civilisations and historical figures into their accounts. Examining their works from a transcultural perspective allows us to move beyond traditional national identities, exploring the interconnectedness and complexity of historical relations between China and the broader world. Simultaneously, by acknowledging the Mediterranean as a space of converging yet fragmented identities, we recognise its role as a place of coexistence and hybridity, blurring cultural differences and national boundaries.
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Li, Yue, Haijiang Du, Bo Wang, Yufeng Liu, and Jinzhou Liu. "Research on Very Early Warning Aspirating Smoke Detector Deployed in Massive Guan Style Buildings from Ming and Qing Dynasties in the Palace Museum." In Proceedings of the 5th International Conference on Building Energy and Environment. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9822-5_160.

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"Chinese Aesthetics." In Advances in Religious and Cultural Studies. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1702-4.ch002.

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This chapter studies the development and basic ideas of Chinese aesthetics by reviewing the history of aesthetic perspective from the Han Dynasty; the Wei, Jin, and Southern and Northern Dynasties; the Tang Dynasty; the Five Dynasties; the Song and Yuan Dynasties; and the Ming and Qing Dynasties. The ancient Chinese artists pursued the artistic conception of beauty, namely, the integration of mind and objects, sentiments, and scenes, and the fusion of subjective emotions and objective landscape. Nevertheless, this conception overlooks the function of practice, the intermediary between mind and objects. Actually, there are three fundamental elements: emotion (first feeling) of aesthetic subjects; artistic conception sensed through the painting brush in practice (perception); poetry, books, songs, and paintings as artistic finished products (containing essence and sentiments). It is the combination, conformity, and harmonious co-existence of these three essentials (namely subject–practice–object) that constitute the art system aesthetics or design aesthetics.
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Zhu, Zixuan, and Reginald Yin-Wang Kwok. "Beijing: The Expression of National Political Ideology." In Culture and the City in East Asia. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198233589.003.0007.

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Abstract More than 3,000 years old, Beijing has been the national capital of China for over 800 years. During the late period of Chinese feudalism, Beijing was the cultural and political centre of five dynasties-Liao, Jin, Yuan, Ming, and Qing. The unique culture and architecture of ancient Beijing had many striking characteristics. The city was constantly transformed under each dynasty out of clements from previous regimes. It also attracted numerous ethnic groups and absorbed elements from various nationalities, while at the same time sustaining characteristics of the dominant Han Chinese culture (Hou and Jin 1982). Under strong support from the national state, present-day Beijing has maintained many major traditional characteristics.
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Mankoff, Jeffrey. "China’s Inner Asian Borderlands." In Empires of Eurasia. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300248258.003.0012.

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The challenge of diversity is especially acute along China’s Inner Asian periphery, which encompasses Northeastern China, previously referred to as Manchuria, and the autonomous regions of Inner Mongolia, Tibet, and Xinjiang. These areas were intermittently controlled by Sinitic states based on the Central Plain, but most comprehensively integrated with “China proper” during periods of rule by Inner Asian dynasties like the Mongol Yuan and the Manchu Qing. By the last decades of Qing rule, new ideas about national identity and the threat posed by European and, later, Japanese imperialism sparked efforts to extend the system of provincial administration prevailing in the eighteen provinces of “China proper” to Inner Asia. Following the Qing collapse, foreign support helped sustain Tibet and Xinjiang from reconquest by China for decades. Today, Tibet and Xinjiang remain only partly integrated into the political and social fabric of the PRC. In recent years, this legacy of foreign intervention and separatism has led Beijing to intensify efforts to secure its hold in both Tibet and Xinjiang, adopting a strategy mirroring the approaches of Eurasia’s other postimperial states, albeit magnified by China’s comparative wealth and access to modern technology.
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"6 Transformations, from the Five Dynasties to the Yuan (907–1279)." In A Short History of Paper in Imperial China. De Gruyter, 2024. http://dx.doi.org/10.1515/9783110701593-006.

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10

"Merchants from Huizhou and Shanxi during the Ming and Qing Dynasties." In Wealth Doesn't Last 3 Generations. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812797520_0005.

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Konferenzberichte zum Thema "From Yuan to Qing dynasties"

1

Peng, Zhen. "Analysis of the modern significance of the traditional Chinese theater Yuan Zaju (1271–1368)." In 4th International Conference Modern Culture and Communication. Institute for Peace and Conflict Research, 2024. http://dx.doi.org/10.31312/978-5-6048848-7-4-11.

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China is an ancient civilization with a history of 5,000 years, with a long history and many ethnic groups. From the Han Dynasty to the middle of the Tang Dynasty, there were "baixi" (百戏) and "Can Jun xi" (参军)). During the Middle and late Tang Dynasty, opera was gradually formed. During the Song-Jin dynasties, opera developed rapidly and laid the foundation for the Yuan Ming Opera. This article, firstly, examines the historical and cultural background of the Yuan Zaju and analyzes the reasons for their popularity in feudal society; secondly, the plot structure of the Yuan Zaju has a linear cou
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Hong, Cai-Zhen. "A Study of Spice Trade from the Quanzhou Maritime Silk Road in Song and Yuan Dynasties." In 2nd Annual International Conference on Social Science and Contemporary Humanity Development. Atlantis Press, 2016. http://dx.doi.org/10.2991/sschd-16.2016.96.

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3

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. University of Szeged, 2020. http://dx.doi.org/10.14232/sua.2019.53.45-58.

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4

Wang, Xiaohong. "Controversy about the Native Place of Chin-Shihes: A Glimpse of Gansu Education in Ming and Qing Dynasties from the Perspective of History." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.539.

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5

Wei, Hui. "The Inquiry in to Life Through the Art of Chinese Penjing." In 5th World Conference on Arts, Humanities, Social Sciences and Education. 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
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6

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 th
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Danqi, Lu. "History, Sociocultural Implications and Archetypal Characters of “Three Gu Six Po” in Traditional Chinese Novels." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. http://dx.doi.org/10.62119/icla.1.8208.

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Grannies with folk careers, literally translated into “Three Gu Six Po” in Chinese, are ubiquitous in traditional Chinese novels and colloquial stories. They may be nuns, midwives, or matchmakers from a relatively unprivileged status, seeking any temporary work opportunity and providing various services in and out of house-holds. The interesting dynamic between these characters taking on deeply nuanced positions in Chinese sociocultural traditions while also adhering to archetypal roles provides begs two assertions: Firstly, we can learn about the career norms, social status and life patterns
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