Dissertationen zum Thema „Shu sui lou“
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Yeung, Ka-ying. „Pursuit and exploration the theme and art of Liu Sola's fiction = Liu Suola xiao shuo de "Xun zhao" yi shi he yi shu tan suo /“. Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39634267.
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Fan, Guangxin. „Yi jing shu wei zhi shu : wan Qing Hunan li xue jia de jing shi guan nian yan jiu /“. View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20FAN.
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Lam, Lai-kwan. „Messianic elements in mid-Tang thought : the case of Liu Zongyuan (773-819) = Tang zhong ye shu shi si xiang tan tao : Liu Zongyuan yan jiu /“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25797268.
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Siu, Sai-yau, und 蕭世友. „The relationship between emperors and monks in the northwest region in the Sixteen Kingdoms period : theoretical model and data visualization = Wu Hu shi liu guo shi dai xi bei zheng quan zhi jun zhu yu seng ren guan xi yan jiu : sha lou li lun mo xing ji shi liao shi xiang hua“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206681.
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The Sixteen Kingdoms was a period of political disintegration in medieval China. Foreign rulers of Wu Hu (“Five Barbarian Tribes”) captured the northern China during the 3rd – 5th centuries and established independent states through continuous military actions. This thesis aims at studying the relationship between the emperors and Buddhist monks in the Northwest empires in the Sixteen Kingdoms Period, including the Former Liang (320-376), the Western Qin (385-400; 409-431), the Later Liang (386-403), the Northern Liang (397-439) and the Xia (407-431), by developing a theoretical model called “Hourglass Model”.
The model provides a holistic framework for investigating not only the emperors’ changing attitudes towards Buddhism but also the dissemination of the Dharma by monks. In addition, the concept of “data visualization” is implemented to re-interpret various historical sources. The complex interaction among imperial clans and Buddhist practitioners is further analyzed with computer-aided historical research methods.
This thesis hopes to reveal the inspiring nature of the political religion in China’s early medieval age and expand the scope of Chinese Studies by rethinking about foreign rulers and Buddhist monks’ roles in reshaping and vitalizing the Chinese civilization. Moreover, this study develops alternative approaches to the research on the history of Chinese Buddhism, and attempts to shed new lights on theories and research methodology.published_or_final_version
Chinese
Master
Master of Philosophy
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Wong, Leung-wo. „A study of the poetry and literary ideas of Liu Dabai (1880-1932) Liu Dabai shi ji qi shi lun yan jiu /“. Click to view the E-thesis via HKUTO, 1994. http://sunzi.lib.hku.hk/hkuto/record/B31212700.
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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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Jin, Jingsi, und 金敬思. „Parking to parks: rethinking parking lot system in Shenzhen“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50703584.
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Li, Zhiwen. „Guang yi xiu ci zai zhong liu Zhong wen ke shi yong wen zhi jiao cai she ji /“. click here to view the abstract and table of contents, 1996. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b14945678a.pdf.
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Li, Vivian Kit Yan. „"Hong" de han yi : "Hong za zhi" yu er shi shi ji chu Shanghai liu xing wen xue /“. View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202007%20LI.
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Li, Xiangnian. „Han Wei Liu Chao zhuan ji wen xue shi gao“. Shanghai : Fu dan da xue chu ban she, 1995.
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Zhang, Jieneng. „Jin shi liu nian (1989-2005) Xianggang Zhong yao bu liang fan ying shi gu de fen xi yan jiu /“. click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b1998697xa.pdf.
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Yeung, Chi-wah. „A study of the popularity of football in Hong Kong in the 1950s and 1960s = Er shi shi ji wu, liu shi nian dai Xianggang zu qiu xing cheng yuan yin de tan suo /“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2533511x.
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Wong, Ching-him Felix. „A critical study of the policies formulated and the religious culture disseminated by the Jesuits in China during the sixteenth and seventeenth centuries Shi liu, shi qi shi ji zai hua Yesu hui shi zhi zheng zhi ce lüe ji qi suo chuan bo zhi zong jiao wen hua /“. Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B41634226.
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Lo, Kan-ip Eric, und 盧勤業. „Sustainable railway infrastructure development: lessons from the Sheung Shui to Lok Ma Chau Spur line“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31945727.
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Lo, Kan-ip Eric. „Sustainable railway infrastructure development : lessons from the Sheung Shui to Lok Ma Chau Spur line /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25263602.
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陈, 寒. „《红楼梦》诗性美翻译研究"Hong lou meng" shi xing mei fqn yi yan jiu“. Paris, INALCO, 2011. http://www.theses.fr/2011INAL0016.
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La traduction française du Hong Lou Meng date de plus d'un siècle. De nos jours, il existe en France trois extraits traduits et deux traductions en volume parmi lesquelles celle de Li Tche-houa a permis aux lecteurs français d'apprécier cette grande oeuvre dans son intégralité. Néanmoins, depuis 1981, aucune orientation théorique n'a permis de procéder systématiquement à l'interprétation et à la critique de cette traduction. C'est la raison principale qui nous a conduits à choisir la traduction de ce roman comme sujet de notre thèse. Notre but est d'explorer une nouvelle méthodologie pour mieux traduire l'œuvre originale. Nous avons d'abord clarifié l'objectif central de la traduction de ce roman. Du point de vue esthétique, on définit sa valeur centrale par la notion de « beauté poétique qui privilégie le sentiment», lequel constitue aussi l'objectif central de la traduction du roman. Puis nous avons indiqué que la beauté ne préexiste pas au jugement esthétique, mais que les deux surviennent de manière concomitante. Une fois identifié l'objet de la traduction, nous avons souligné que la mission principale de la traduction du roman ne réside pas dans l'expression des éléments subjectifs ni objectifs, mais dans la représentation de leurs « relations» dynamiques et dialectiques. Ainsi le processus proprement dit de la traduction littéraire est-il réexprimé sous la forme «empathie -exotopie - surplus de vision- recréation». Enfin nous avons émis une hypothèse du point de vue esthétique : l'unité de traduction du Hong Lou Meng réside dans l'image qui peut être représentée esthétiquement dans le texte traduitThis dissertation is made of an introduction and five chapters. The introduction highlights above all the reason why we have chosen the perspective of "poetic beauty" as our main approach to the translation of this novel. Therefore, our discussions of theory and skills are confined to the esthetic framework. After introducing the history of the translation and studies of Hong Lou Meng in France to serve both as the basis of our demonstration and contribution to the "Redology" (the study of the novel A Dream of Red Mansions) in China, we have announced the contents and the connections of the five chapters, so as to clarizy the general structure of the dissertation. Finally, we have summarized the main arguments defended in the thesis. The first chapter tries to elucidate several theoretical problems. After having clarified the main target, the principal mission and the process, and put forward hypotheses concerning the unit of translation of Hong Lou Meng, we have set out arguments for our new strategy of translation based on three elements : image of word, image of rhetoric and image of rhythm. Besides, the translator should also pay attention to the coherence of the images, thereby completing the "atmosphere" of the translated work and achieving the core objective which consists in the representation of the artistic vision of the riginai work. In summary, the demonstration of the five chapters in this dissertation has presented a circular operation of "mindmosphere - image - discourse - image- mindmosphere", which corresponds with our interpretation of the bi-directional circular movement of the subjective and objective factors in the translation of Hong Lou Meng
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Liu, Ziming [Verfasser], Markus [Gutachter] Hanisch, Volker [Gutachter] Beckmann und Xiaoping [Gutachter] Shi. „Understanding the Land Cooperative Program in China: Determinants and Impact / Ziming Liu ; Gutachter: Markus Hanisch, Volker Beckmann, Xiaoping Shi“. Berlin : Humboldt-Universität zu Berlin, 2017. http://d-nb.info/1185665706/34.
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Macdonald, Sean. „Chinese modernism autonomy, hybridity, gender, subalternity : readings of Liu Na'ou, Mu Shiying, Shi Zhecun, Ye Lingfeng and Du Heng /“. [Montréal] : Université de Montréal, 2002. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ73478.
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Thèse (Ph. D.)--Université de Montréal, 2002."NQ-73478." "Thèse présentée à la faculté des études supérieures en vue de l'obtention du grade de Ph. D. littérature option théorie et épistémologie littéraire." Version électronique également disponible sur Internet.
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Ho, Wai Chung. „Cong "Zuo zhuan" dao "Shi ji" : kan xian Qin zhi Qin Han jian "tian ren guan" liu bian zhi yi li /“. View abstract or full-text, 2004. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202004%20HOW.
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Wang, Lianghe. „Shi guan de chong tu yu zhu liu de jing zhu : Xianggang ba, jiu shi nian dai shi tan de liu pai fen zheng--yi "Zhong Weimin xian xiang" ying zhao = The clash of poetic views and striving to be the centre : an exploration of the conflict between poetic schools in the 1980s and 90s in Hong Kong in the light of the "Chung Wai Man phenomenon" /“. click here to view the abstract and table of contents, 2001. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17040474a.pdf.
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Lai, Ka-chun Ken. „Shangdong Clan families and Chinese politics in the sixth century China Shandong da zu yu gong yuan liu shi ji Zhongguo zheng zhi /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31642822.
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Lam, Ho-kwong, und 林浩光. „Liu Xie's Wenxin Diaolong and Sikong Tu's Shipin : a comparative study in stylistics = Liu Xie "Wen xin diao long" yu Sikong Tu "Shi pin" feng ge xue bi jiao yan jiu“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/209585.
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Chu, Chi-fu. „A study of Wu Weiye's life (1609-1672) as a Qing official and a retired gentleman Wu Weiye (yi liu ling jiu zhi yi liu qi er) shi Qing yu gui yin zhi yan jiu /“. Click to view the E-thesis via HKUTO, 1993. http://sunzi.lib.hku.hk/hkuto/record/B31950231.
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Sit, Fung-ming Joyce. „A study of the composing process of primary six pupils starting = Xianggang xiao liu xue sheng Zhong wen xie zuo si wei guo cheng : wen zhang de kai shi /“. Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B31960406.
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Tsuchiya, Kazuyo. „Contesting citizenship race, gender, and the politics of participation in the U.S. and Japanese welfare states, 1962-1982 /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336649.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed Jan. 9, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 300-330).
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Tam, Wai-kee, und 譚偉基. „Breakthrough: Tech. Centre II“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983637.
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Tang, Wing-sze Cecilia. „A study of paragraphing in Chinese writing primary 1 to primary 6 students in H.K. = Zhong wen xie zuo : duan luo yan jiu : Xianggang xiao yi zhi xiao liu duan luo mo shi de fa zhan jie duan /“. Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31963213.
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Deng, Yong-shi. „A study of paragraphing in Chinese writing : primary 1 to primary 6 students in H.K. = Zhong wen xie zuo : duan luo yan jiu : Xianggang xiao yi zhi xiao liu duan luo mo shi de fa zhan jie duan /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25248935.
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LEE, SHU-YU, und 李姝毓. „The Questions and its impact of Liu Zhiji Doubt about Shi Tong For Shang-Shu“. Thesis, 2015. http://ndltd.ncl.edu.tw/handle/09893908740079327377.
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Mu, Wu, und 吳牧雲. „A Study on Liu Chen-weng’s commentary on Shi Shuo Xin Yu“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/66688545012925912896.
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碩士國立中央大學
中國文學系碩士在職專班
99
Abstract “Commentary (pingdian)” is a special way to present ancient Chinese literary criticism. It made a start from verse to novels, including traditional Chinese operas. “Commentary” in Song dynasty had its practical purpose for teaching and imperial examination. It is Liu Chen-weng, one of the pioneers in literary criticism in Chinese literature history in the end of Southern Song dynasty, who not only comments on works of scholars, but also on poetry, ancient writings, and novels. He is regarded as the founder of the commentary on novels because of his commentary on Shi Shuo Xin Yu. Since Ming and Qing dynasties, Liu’s commentary on Shi Shuo Xin Yu far exceeds others in the contents, entries, and opinions. My thesis plans to discuss the distinctive literary taste in Liu Chen-weng’s commentary on Shi Shuo Xin Yu: Why does Liu choose to comment on novels, the genre despised by traditional Chinese scholars? According to Liu’s reading approach and literary views, I will discuss the style, objects, and contents of his commentary on Shi Shuo Xin Yu as well as the value of his commentary on the novel. The following are brief introductions of each chapter in this study. Divided into four parts, the First Chapter begins with motives and purposes of my research. Next, I will introduce the object of study appears in the thesis. The third part is about predecessor’s works on Liu Chen-weng in the past twenty years. To present Liu’s rise and fall, the fourth part briefly discusses his life story, including his birth, education, imperial examination, serving in the government, drifting, and living in seclusion. The Second Chapter, “Comparison between Traditional Chinese Views on Reading and Liu Chen-weng’s Commentary Method,” consists of three parts. First, I will explain relations between reading and commentary. Then, I will compare views on reading in terms of “inferring willing from meaning” with the method Liu uses when commenting on Shi Shuo Xin Yu. The last part focuses on views about reading that “there is no ultimate authoritative explanation for poetry” and the method Liu uses when commenting on Shi Shuo Xin Yu. Chapter Three is named as “Style, Objects, and Contents in Liu Chen-weng’s Commentary on Shi Shuo Xin Yu.” I will discuss the following three questions in order: What do symbols Liu uses stand for in his commentary on Shi Shuo Xin Yu? Where does Liu leave commentary symbols when commenting the novel? What objects and contents does Liu comment on in Shi Shuo Xin Yu? The Fourth Chapter introduces “The Genre of Shi Shuo Xin Yu and Liu Chen-weng’s Views on Novels.” I try to seek connections of Liu’s views on novels and his commentary on Shi Shuo Xin Yu through relations between the genre of Shi Shuo Xin Yu and views on novels in Tang and Song dynasties. The following four topics are discussed respectively: special characteristics in the genre of Shi Shuo Xin Yu, views on novels in Tang dynasty, views about novels in Song dynasty, and Liu’s views on novels. Chapter Five is called “Purposes, Advantages, and Disadvantages of Liu Chen-weng’s commentary on Shi Shuo Xin Yu.” To present special characteristics of Liu’s commentary, the first section deals with purposes of Liu’s commentary on verses. Then, advantages and disadvantages of Liu’s commentary on Shi Shuo Xin Yu will be listed in the following section. The Sixth Chapter, “Value of Liu Chen-weng’s Commentary on Shi Shuo Xin Yu,” consists of four parts. Firstly, Liu’s commentary “not only improves notions of reading Shi Shuo Xin Yu, but also helps later generations do research on this novel”. In addition, Liu’s commentary plays an important role in “creating commentary on novels and laying groundwork for the theory of novel”. The third part indicates how Liu’s commentary “affects style, objects, and use of language in commentary upon novels.” The last part approves that commentary on Shi Shuo Xin Yu lays a solid foundation for the theory of Chinese novels. To conclude the thesis, the last chapter includes three sections. To begin with, I will analyze if Liu Chen-weng is the first one to do commentary on Shi Shuo Xin Yu. Next, I will explain why Liu’s commentary on Shi Shuo Xin Yu possesses both rational and perceptual manners. At last, reflection on my thesis will be provided to interest others to think highly of Liu Chen-weng’s commentary on Shi Shuo Xin Yu and served as reference for others when studying this novel.
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Liu, Shi-Hao, und 劉士浩. „Superimposed Space－Creation Descriptions by Liu, Shi-Hao“. Thesis, 2015. http://ndltd.ncl.edu.tw/handle/w6qshq.
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碩士大葉大學
設計暨藝術學院碩士班
103
In this thesis, art-oriented, describes the author's life experiences and feelings in the creative process of trying to find the relationship between the individual and the outside world, by "superimposed space" concept, put forward "sorting behavior" as an angle of observation and social performance, author works in this series of labor presented in a way, from the constant repetition of the action, and slowly constructed from my creative trajectory. This study area is divided into five chapters, the first chapter is "the motivation and purpose," explained the meaning of "superimposed space" concept, and to explore the complex relationship between the author and the community to do a self-reflection; The second chapter , "theoretical foundation", and from the inherent spirituality and the abstract froid among individual analytical and creative hair style would like to build; The third chapter," the contents of the form "will discuss personal creative thinking and performance techniques; The fourth chapter," Compositions, "describes "superimposed space" series of content creation and direction; final chapter "conclusion" creative direction for the future and I do a review of the criticism to improve, hopes to further his own art this way.
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Wang, Mei-ying, und 王美盈. „Han-Song Academic Discussion of Liu Shi-Pei“. Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54490605391723127765.
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碩士世新大學
中國文學研究所
98
This paper investigates Liu Shi-pei’s Han-Song academic discussion according to several major trends of thought in the academic history of Qing Dynasty. Only by inspecting Liu’s Han-Song academic discussion under the context of the entire academic history of Qing Dynasty for comparison could its meaning and the value be manifested. This paper first introduces the background of the Han-Song dispute, and then compares Han Xue Shang Dui, which can indicate the content of Han-Song dispute, with Liu’s discourse. It aims to probe into the foundation and development of Liu’s Han-Song academic discussion upon previous perspectives through research in issues such as “Daosim”, “I-Li and scholium”, and “manner and logic”. Moreover, Liu suggested that the Ru-Zhi and I-Li scholars of Qing Dynasty could be divided into two schools. This paper first investigates the representative figures of these two schools, and then explores the relationship between the “Fa-Wei Theory of Han and Han Ethics Study” and Chen Li’s Han Ru Tong Yi. It is found that Liu’s discourse of “the study of Song originates from the study of Han” was influenced by Chen Li’s “The study of Cheng and Chu is the study of Han Confucianism.” This paper further discusses Liu’s elucidation of “the study of Song originates from the study of Han” from the perspectives of “the study of ethics,” “the study of image-number”, and “the study of I-Li”. In addition, this paper discusses Liu’s academic situation, and compares Liu’s criticism on “the mediator between Han and Song” with Chen’s mediation between Han and Song upon Liu’s theory, in order to demonstrate that Liu did not “support both Cheng and Chu” as Chen Li stated. Although Liu favored the study of Han, he also highly approved Lu-Wang’s theory of mind. Finally, this paper discusses the influence of “the study of the West” on Liu’s Han-Song academic discussion, such as his support for Lu-Wang’s theory of mind and the study of image-number of Song Dynasty, and using “the study of the West” to inspect the advantages and disadvantages of the study of Han and Song. This paper finds that Liu had a unique viewpoint to evaluate the advantages and disadvantages of the old issues in the academic history during the alternation between the new and old cultures. This paper is organized into 6 chapters, Chapter 1 is the “Introduction” and Chapter 6 is the “Conclusion,” Chapter 2-4 investigate Liu’s ideas from historical perspective, and Chapter 5 discusses them from the perspective of time and background. It is hoped that this study can provide a comprehensive description of Liu’s Han-Song academic discussion.
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Yeh, Po-Jung, und 葉博榮. „Quotes And Commentaries on Liu Shi Pei’s Chinese Traditional Phonological Concepts“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/51301932841655162053.
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碩士國立中央大學
中國文學研究所
99
There are three parts of this study. The first part is for how Liu Shi Pei discussed the utility of phonology. Liu also discussed the purpose of study phonology and his view of linguistic. This part also discussed how Liu divided stages of Chinese history phonology and how he discussed dialectology. The second part is for Liu Shi Pei’s discussion about Ancient Chinese sound, which Liu discussed most, including alphabet, fan qie, rhythm book, study of rhyme chart, and Ancient tone. The third part is for Liu Shi Pei’s discussion of Archaic Chinese sound, including Archaic final, Archaic initial and Archaic tone.
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Chao, Pei-ting, und 趙珮珽. „Discussion of Three Cases on‘Xian Ren’ from “Shui Hu Zhuan”、“Jin Ping Mei”、“Hong Lou Meng”“. Thesis, 2015. http://ndltd.ncl.edu.tw/handle/mq8d5d.
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碩士國立中央大學
中國文學系
103
The goals of this essay are by studying the related characters in the three classical novels of the Ming and Qing dynasties to highlight the dialectical interpretation of the culture identity of the‘Xian Ren’（閒人）group and wish the revelation of this case study having the subsequent construction of the genealogy． Back to roots， the group can be traced to the last of nine occupations of the people of the “Zhou li＂(周禮)，‘Xian Min’(閒民)，which means people with no fixed and changing occupations；from a metaphysical dialectic perspective， the no fixed and the changing are inter-inventing with extended meaning of the‘Xian’(閒)of transcending and the‘Xian’(閑)of exclusion in “Shuo Wen Jie Zi”(說文解字)；in the practice of competency， on the one hand，‘Xian Ren’evolved into the competent hanger―ons of “Du Cheng Ji Sheng”（都城紀勝）and“Meng Liang Lu”(夢粱錄)of the Southern Song dynasty，especially of “Shui Hu Zhuan”(水滸傳)；on the other side，“Xian Ren”(閒人)also developed from celebrated scholars of “Shi Shuo Hsin Yu”(世說新語)， the poets of the Tang and Song dynasties like Bai Juyi(白居易) and Su Shi(蘇軾) into Jia Baoyu(賈寶玉)，who is 'rich and honourable idler.' and fussing for nothing．As for “Shui Hu Zhuan”（水滸傳），the people，who are hanger―ons but refer to themselves as agents to enforce justice on behalf of heaven， should be called ，according to the opinions of Lu Xun(魯迅) nicknamed ‘San Xian’(三閒) of three leisure，the‘Xian Ren’of helper∙
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Huang, Yun-Ju, und 黃韻如. „Conservation and Restoration of Tainan Inlaid furniture-- Shi-Liu in Jia-Dong“. Thesis, 2005. http://ndltd.ncl.edu.tw/handle/38828876692222286395.
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碩士國立臺南藝術大學
古物維護研究所
93
ABSTRACT Tainan inlaid furniture of ‘Shi-Liu in Jia-Dong’ is the characteristic cultural feature of Tainan and the typical inlaid technology of Taiwan furniture. ‘Shi-Liu in Jia-Dong’ is using the wood color to build bright effect in sight. The furniture is very gorgeous that only rich people and temples have the economical ability to buy it in the early time. The author starts with the residents’ activities and historical background of Tainan, inlaid technique and materials uses as beginning, to understand the whole culture and development of the magnificent Tainan inlaid furniture. Moreover, the investigation/ research by interviewing the masters, who know the traditional inlaid technique, is good for gathering the worthful firsthand information. It also can rectify doubtful points and fill up the missing points, which cannot be found in the historical documentation. In this thesis, the main point is that to take two inlaid furniture for example, to discuss the ethics of conservation and restoration, to search the analytical science and the information about the conservation and restoration of western countries for more thinking, to learn the traditional technique making, and then to organize the treatments of conservation and restoration. The first object: Inlaid Sacrificial Table of ‘Shi-Liu in Jia-Dong’ needs to receive more conservation work and less restoration work. The treatments mainly involve cleaning and protecting. Nevertheless, the dark coatings have covered the patterns, which have the meanings of historical and cultural cultivation. The aesthetics value is affected. The material analysis also shows the dark coating will turn to be irreversible. Thus, the restoration work, removal of coatings, has been taken for the purpose of conservation. The second object: Inlaid ‘Table’ Cabinet of ‘Shi-Liu in Jia-Dong’ requires a lot of restoration work. The treatments include many structural repairs, replacing and color matching for large surface areas. The treatments of restoration are not only for preserving the values of history and culture, but they are more inclined to enhancing its aesthetics value. The research of Taiwanese traditional furniture has been a concern in recent years. The conservation/ restoration works for the old temples or historical buildings usually ignore the interior wooden furniture. Bedsides, the inheritance of ‘Shi-Liu in Jia-Dong’ is in a precarious situation. Therefore, the author hopes this thesis can arouse attention and give people better understanding about the value of ‘Shi-Liu in Jia-Dong’. The work may continue by everyone taking it seriously. Furthermore, the author hopes this thesis could be a reference for the conservation and restiration of the similar furniture. To offer more suitable considerations, and then the traditional inlaid furniture can be preserved well and longer.
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Huang, Wanyun, und 黃琬韻. „A Discussion of “Chung Ben Shi Mo” Concept From Wang Bi Notes on “Lau”“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/70376811589649543954.
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碩士輔仁大學
中文系
101
Wang bi is living in the dynasty of “Wei jin nan bei”, it is a conversation of hstory of ideas.The politics is in turmoil,let people trans to self-cultivation,advocate Shiuan yuan,like to cing tan.They hope to get rid of the shackles from etiquette and ming chiao.The ideology of dau jia becomes a valune of life to the people from wei jin. Wang bi is intelligent,in the short life of twenty-four years,does notes for “yi”,“lau”, “luen yu”,respectively.His hotes of “lau tz” is focous on sufficiently comprehensive grasp of the purport for “lau tz”, “wei jr li lieu”,is focous on briefly reveal the key for “lau tz”.To sum up in a word, just is “chung ben shi mo”.He use a easy way to replace complication,explan “lau tz”,analyze “shiuan li”,indigenous,show a deep concern for the times simultaneously. So my topic is “A discussion of Chung ben shi mo concept from Wang bi notes on “Lau”.First,discuss the “ti yung”concept of “ben”, “mo”,and what’s its metaphysical roots? Second,if down on personnel to implement,whst’s the means of “ben”, “mo”? Third, how can practice Wang bi’s “Chung ben shi mo”through the way by less and less?And what’s the object for reducing? It is the problem to be solved.
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KUO, I.-LIN, und 郭義林. „A Study of Tainan Inlaid Furniture for Temple Worship,Shi-Liu in Jia-Dong“. Thesis, 2018. http://ndltd.ncl.edu.tw/handle/sy5r4m.
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碩士國立臺南大學
文化與自然資源學系臺灣文化碩士班
106
The origin of inlay began in Yin-Shang period, from observing its historical remains, we found antique treasure, clams inlaid lacquerware made of rosewood and dark wood; and then, through evolution of dynasties, this craft technique can be utilized in every kind of furniture manufacturing that makes its pattern design display exquisite, quaint, lustrous, and plano-concave contrasting visual effects and create high cultural value. Tainan City has still preserved this traditional technique, Shi-Liu in Jia-Dong, originated from many provinces in China, such as Fujian, Zhejiang, and Guangdong, mostly they use local tree species, Autumn Map Tree, as base, then embeded with light yellow colored pomegranate wood, false coffee wood, and teak. This type of furniture is mostly made for practical purposes, and use of materials are not as diversified as works from Beijing and Zhejiang in Mainland China. Most of them are used to make above/lower tables and altars for temples worship and ancestral worship in lobby for wealthy family; few of them are Taishi chairs(old-fashioned armchairs) inlaid with mother-in-pearl and clams, shrine, ancestor memorial tablet, and worship tables in narrower range of selections and not very many types of furniture. This article uses approaches, such as questionnaires, experts’ valuable opinions, historic documents, and field visits, to further understand current conditions and sculpture forms of “Shi-Liu in Jia-Dong” techniques and preservation of pure wood above/lower tables adopted in temples in six districts in Tainan City, such as Central-West District, East District, North District, South District, Anping District, and Annan District, and analyze its revolution and transformation causes. We also had interviews with “Shi-Liu in Jia-Dong” craft masters to further understand conditions of labor shortage and technique learning; and possible solutions to overcome shortage in supply of pomegranate wood and false coffee wood. In addition, we also discussed inheritance of “Shi-Liu in Jia-Dong” traditional inlaid craft, talent training, and request support of this industry from authority in public sector. Furthermore, issues such as adopt wood base, inlay for more diversified uses, search for more pattern design references from professional drawing books (“XIAO REN SHU” comic book, a type of traditional Chinese art form similar to comic strips , “MA YI HUA BAO” a book that introduces various types of traditional Chinese drawing techniques), new creative drawings, historic works restoration, new creative art works, market segmentation expansion, develop cultural economics industry, and “half hand-made, half mechanic” sculpture manufacturing methods are all included in our research and discussions.
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Hsu, Chi-Guan, und 徐七冠. „The Study of Liu-Shui Pan''s Oil Paintings on the Main Gtes of Temples“. Thesis, 1997. http://ndltd.ncl.edu.tw/handle/16250399637255774951.
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碩士國立成功大學
建築(工程)學系
85
The oil painting plays an important role in Chinese traditional architecture, but we rarely find any relevant study of that on Taiwanese traditional architecture. Therefore, this thesis tries to understand the value, norms, and art expressions of the paintings as a decorative means on architecture by analysing the artwork of Mr. Li-Shui Pan ''s oil paintings on the main gates of temples. The contents of each chapter are as follows：Chapter 1 IntroductionThis chapter briefly describes the motivation and purpose, this study, reviews the related studies until now, and introduces the retrospect of Mr. Li-Shui Pan''s life as a traditional painter.Chapter 2 Basic Meanings of the oil paintings on the main gates of templesThis chapter discusses about the meaning of oil paintings on the main gates in traditional architectural space and their color system and characteristics in traditional art firstly. Than, through the analyses the origins figuers and images of different Gods and Goddes on the main gates in the historical folk tales, we try to interpret the mode of thinking and the foundation of imaging behind painter''s working.Chapter 3 Types of oil paintings on the main gates of temples done by Li-Shui PanThis chapter categorizes the works of Pan, and then disscusses the relationaly between types of works and types of God/Goddes worshipped.Chapter 4 The Working process of painting on main gates in temples done by Li-Shui PanThis chapter discusses about the materials, methods and techniques of painting, and records its working process in order to examine the methods and characteristics inherited from the tradition.Chapter 5 The special characteristics of Li Shui Pan''s oil paintings on the main gates of templesThis chapter discusses about Li-Shui Pan ''s works from the view points of materials,colors,and techniques inherited from the tradition. It also makes comparisons between his works with others'' works in Tainan City contemporarily. Chapter 6 ConclusionThis chapter makes a conclusion of above chapters, categorizes what the Li-Shui Pan''s oil paintings on the main gates of temples means in the traditional architecture space, the features and the working process of the oil paintings.Moreover, it also makes suggestions for the continuous studies in the future.
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Yap, Chang-Hoong, und 葉常泓. „The Statecrafting Principles of Writings：A Comparative Study of Liu Xie’s Wen Xin Diao Long and Liu Zhi Ji’s Shi Tong“. Thesis, 2018. http://ndltd.ncl.edu.tw/handle/5gja43.
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博士國立臺灣大學
中國文學研究所
106
Taking “the statecrafting principles of writings” as a base of observation or an axis of discourse, this study consists of six chapters to compare and analyse the samenesses, similarities and differences between Liu Xie’s Wen Xin Diao Long and Liu Zhi Ji’s Shi Tong, which manifested all-around in their motivations and backgrounds of composing, the systematic frameworks, the analytic modes and procedures, and the theoretical thoughts of these two masterpieces. As the monumental theories represented a comprehensive generalization of views or ideas of various literary writings and historical writings from Pre-Qin to Southern-Qi and early Tang dynasty, Wen Xin Diao Long and Shi Tong not only had a latent kinship of evolution from origin to change and from extensiveness to specialization, and also kept abreast of times and eath other with their high contributions, it thence appeared a merit of comparative study of the intertextuallity between these two works which has been neglected by previous single-minded reseaches. Liu Xie and Liu Zhi Ji both devoted their theories to propagating that good literary and historical works could be effective mediums or carriers which record human’s matters, edify human’s mind and regulate human’s relationship, and they both believed that the true principles of literature and history relect the eternal verities of human and heaven, thus it was necessary to refine overall a series of principles of writings and criticism in domains of literature (in broad sense) and history from past to future.
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陳映仁. „A Study on Wooden Inlaid Art－ Based on Tainan’s Folk Art Jia-Dung Inlaid Shi-Liou ”“. Thesis, 2002. http://ndltd.ncl.edu.tw/handle/45231431617141056299.
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碩士國立屏東師範學院
視覺藝術教育研究所
90
A Study on Wooden Inlaid Art --A Case Study Based on Tainan Folk Art 「Jia-dung inlaid shi-liou」 Abstract The research studied “Jia-dung inlaid shi-liou”, wooden inlaid art in Tainan. This folk art is one of the commonly used decorative skills in the creation of Tainan traditional furniture. In order to preserve the artistically natural beauty of woods, the craftsmen select woods with different colors, and lines as materials. “Jia-dung inlaid shi-liou” is a traditional skill with local characteristics that makes Tainan furniture so distinguished. Unfortunately, there are fewer and fewer young craftsmen good at this traditional skill while old craftsmen gradually stop creating in the prosperous industrial society. The research on “Jia-dung inlaid shi-liou” discussed the artistic styles including skills, forms, etc; and in the meantime, the researcher analyzed how the craftsmen are passing the skill in the present. In addition, the application of “Jia-dung inlaid shi- liou” in the furniture decoration was also included in the research. With the appreciation of works adopting “Jia-dung inlaid shi-liou,” the researcher analyzed the characteristics and styles of the skill. By studying “Jia-dung inlaid shi-liou,” the researcher hopes to awaken the public to cherish this traditional skill as well as cultural heritage that are especially in Tainan’s possession.
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HUANG, CHEN-HAO, und 黃振豪. „Jia-Dung Inlaid Shi-Liou Techniques of Combining Art Glass－The Case Study Traditional Ritual Instruments“. Thesis, 2019. http://ndltd.ncl.edu.tw/handle/vy9dxt.
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碩士東方設計大學
文化創意設計研究所
107
Inlaid wood craft originated in mainland China, and developed in Taiwan. It creates a very vivid effect by using dark bottom and light color patterns. This production technology is cumbersome, time-consuming and labor-intensive, and it make difficult to heritage. It gradually declined since 1976, and been completely replaced by pure wood carving techniques in 1996. The technique was prosperous in the reign of Kangxi Emperor to Jiaqing Emperor (1662-1820) and spread to Taiwan in 1838. As people pay more and more attention to environmental issues in recent years and trees grow slowly,it lead to shortage of raw mateiral. Therefore we combine the techniques of inlaid wood craft and cold processing of glass art to increase visual richness and elevate the value of preservation. Through the analysis of Miryoku Engineering appraisal structure (Evaluation Grid Method , which is called EGM), 11 high involvement respondents were conducted to discuss the consumers' acceptance of old-fashioned new works. The results of the study found that the experience is more focused on the function of use, focusing on the visual and operational feelings of the appliance, rather than on the basis of the temple's decorative objects, as a classical sacred ritual tool.
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Chen, Jun-hong, und 陳俊宏. „Study on “Xiu Ta Ye Shi” of Leu Tian Cheng: a pornographic story in the late Ming dynasty“. Thesis, 2007. http://ndltd.ncl.edu.tw/handle/04561348846641762637.
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碩士東吳大學
中國文學系
95
This Thesis is in the study of Pornographic Story of late Ming Dynasty-- “Xiu Ta Ye Shi” and its author Leu Tian Cheng. Chapter 1 Introduction Review of predecessors works, forming ideology and questions and building the research methodology for this Thesis. 1. Significance of Pornographic Novel in the study of Chinese Classic Novels 2. Reasons of selecting “Xiu Ta Ye Shi” (1) It is a representative work in Pornographic Novels (2) It has the value as a novel 3. Problems and thoughts about current study of Chinese Classic Pornographic Novels. Chapter 2 Background of Pornographic Literature in late Ming Dynasty In this chapter, we discuss the rise of pornographic novel by addressing the changes in the subject matters, the authors and readers. In the readers, we turned our attention to their casts, educational backgrounds and economic status, and in author, we focused on the social atmosphere, change of thoughts and personal factors. Conclusion is that the publishing market in the late Ming Dynasty was supported by Wen Ren (Scholars), merchants and commons and authors were mostly profit oriented Wen Ren. Exceptions existed though, who are not creating for money. Chapter 3 Brief on Pornographic Novels of Late Ming Dynasty This Chapter discussed the similarity in plots and words but different in overall style between two pornographic novels, “Lang Shi” and “Xiu Ta Ye Shi”, which are then based to study the complication in the changes of sectors in pornographic novel of late Ming Dynasty. Chapter 4 Leu Tian-Cheng & “Xiu Ta Ye Shi” This chapter gives accounts of life, family, teachers and friendship of Leu Tian Cheng with his works or his editing works included. From the letter wrote to him by his grand uncle, Sun Kuang, we found a few books compiled by Leu Tian Cheng and we determined that he had been engaged in publishing business before 24 years old. This part is rarely mentioned in the study of life of Leu Tian Cheng. From the commentary notes on his works of his teacher, Shen Jing, it is found that Leu Tian Cheng had many pornographic dramas, which led us to find the trend of Leu Tian Cheng in his writing. Finally, from the records of sorry and regret in his later life, it seems that he had changed his view on the path of his life, and from where, we can see the attitude of Leu Tian Cheng in creating the “Xiu Ta Ye Shi” at the age of 17 (or 15). Chapter 5 Content analysis of “Xiu Ta Ye Shi” In this Chapter, there are studies of Subject Matter, Characters, Forms and Narrations of “Xiu Ta Ye Shi”. IN this thesis, we focus more on the significance of phonographic stories in literature history and analyze the human relationship of characters in this book and it is found that in “Xiu Ta Ye Shi”, moral is merchantable. The form is straight-forward and in Third-Person Points of View narration. Characteristics of “Xiu Ta Ye Shi” in narration are that when it is in pornographic description, the pace in the story is slowed down and when there is free of such plot, the pace speeded up. This attracts attention to the relationship between Pornographic description and time. Chapter 6 Metaphors of Sexual Intercourse and War of “Xiu Ta Ye Shi” Applying Lakoff – Johnson theory, we explore the metaphors of War representing Sexual Intercourse in “Xiu Ta Ye Shi”. Based on the categorization and analysis in the (Metaphors We Live By), projecting Source Domain to Target Domain in metaphor to discuss the context of such linkage. Chapter 7 Conclusion Briefed the results of studies of various chapters and presented the future prospect of this Thesis. Key words: body culture, the late Ming Dynasty, Plums in a Golden Vase, erotica, pornography
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Chen, I.-yun, und 陳怡芸. „A Study on Birds Writing of Animal Novels --- Take Shen Shi-Xi and Liu Ke-Xiang as Examples“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/09943808575080686384.
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碩士國立臺南大學
國語文學系碩士班
100
For the past few years, the creation pattern of Nature Writing has gained popularity, and animal novels have appeared to be approaching to animal prototypes. Shen Shi-Xi and Liu Ke-Xiang are cross-strait animal novelists. Their animal novels have characteristics and attraction respectively. The study texts of this thesis are based on animal novels of Shen Shi-Xi and Liu Ke-Xiang. First, it compares animal novels and fairy tales. Next, it outlines the background, the writing process, and the text contents of the two novelists. Then, it studies further about the overall characteristics of bird novels written by them. In the end, it generalizes a conclusion from the two writers’ subject implications, writing skills, and characteristics. Shen Shi-Xi’s animal novels use animals’ life to reflect human society, which attempts to regain human recognition and respect the existence value of other life. The literature value lies in re-shining human conscience. Liu Ke-Xiang integrates his sensitive literature accomplishments into sensible nature knowledge and observation. He reveals his convictions by bird novels and deems that humans must respect life and all creatures are equal. Liu Ke-Xiang’s works show his humbleness and respect when facing nature, which is worth reflection and imitating.
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Lin-tang, Tsai, und 蔡琳堂. „THE THEORY AND PRACTICE OF ZHANG XUE CHENG’S “LIU JING JIE SHI”─A STUDY OF THE FANG ZHI EDITION“. Thesis, 2002. http://ndltd.ncl.edu.tw/handle/07431621398028440560.
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碩士淡江大學
中國文學系
90
Zhang Xuecheng is one of the most distinguished scholars in the study of Qing dynasty. His works cover several fields, including the study of scriptures, study of literature, historiography, local gazetteers and textual criticism. Since Ming Guo, there has been a great number of studies on Zhang' works. Most of the studies of this kind, however, have attempted to explicate Zhang's works in terms of specific topic instead of exploring the relation between his theories. This present thesis, on the ground of the notion 'scriptures as representation of history', aims to establish patterns of ancient book writing, i.e. 'meaning pattern' and 'style pattern'. It is also pointed out the way these patterns work in the edition of local gazetteers and furthermore the methods of 'three book style' of local gazetteers is built up. Besides, it is discussed the construction of academic theories, the relation between each theory and the way theories of local gazetteers have a effect on local gazetteers in Qing dynasty, attempting to sketch the whole picture of Zhang's studies.
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Wang, Pei-Jung, und 王珮榕. „Design Development and Evaluation of Mechanical Processing for Wooden Inlaid Craft Wood -A Case Study of “Shi-Liou Inlaid Jia-Dung”“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/28736791830096224492.
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碩士國立屏東科技大學
木材科學與設計系所
101
The wooden inlaid craft is called ”Shi-Liu in Jia-Dong”. It is one of Taiwan's representative crafts. The decoration skill is using woods with different color as materials to build bright effect in sight. However, with changing times, the old master artist are gradually diminishing, with no subsequent inheritance and innovation of the people, this traditional skills decline. This study aimed to continue the skill, ‘Shi-Liu in Jia-Dong’. It starts two aspects of literature and fieldwork to explore. By analyzing the skill of the materials and process, design development and evaluation of mechanical processing for wooden inlaid craft wood. Via 100 kinds of commercial timber become analyzing samples. First, according to texture and specific gravity of traditional materials sift 34 kinds. Secondly, using spectral color measurement tests wood lightness to obtain and sort CIE L*a*b* values. Then, the specimen color blocks fill CIE L * a * b * color system coordinates to build color values a database. Lastly, using Adobe Photoshop software simulated wooden inlaid works. It could supply the reference for the craftsmen. In mechanical processing side, exploring grooves of inlaid wood are milled with CNC routers using pocket machining. Test conditions are different spindle speed and feed speed. Milling 30 ° and 15 ° corner observed corner crack ratio. The result of milling showed that all occurred corner crack. CNC router processing for inlaid wood is suitable for linear or arc machining path.
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Liang, Jeng-I., und 梁正一. „The Event of “Cadenza” in Liu Shui of Pan-Chuan Qin School and Ping Sha of Mei An Qin School: A Thesis on the Great Changes of Qin Music at the Transition from the Old to the New“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/58rsu2.
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碩士國立臺北藝術大學
音樂學研究所碩士班
100
It is apparent that the continuity between qin masters, qin schools, qin anthologies and qin compositions can be found in Liu Shui (“Flowing Water”) of Pan-Chuan Qin School and Ping Sha (“Wild Geese Landing on the Sandy Shore”) of Mei An Qin School, and the appearance of “cadenza” in Liu Shui and Ping Sha is also a newly occurred event for history of music style. During the late Qing Dynasty and early Republic, Liu Shui of Pan-Chuan Qin School and Ping Sha of Mei An Qin School were presented to public, and they have became repertories for elegant meetings, performances and recordings and have been widely accepted as a part of “tradition”, rather than “innovation” excluding tradition ever since. Liu Shui of Pan-Chuan Qin School, Ping Sha of Mei An Qin School, and the event of “cadenza” in them are model cases worthy of observation according as qin history of music as well as its style because of their variability within continuity. They not only embody metamorphoses of recent qin music, but respond to great changes of China in modern history. This is also an instance to regard art as a witness of history and an epitome of times.
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Ng, Ka U. „Tradução de Wo Bu Shi Pan Jinlian de Liu Zhenyun e dificuldades de tradução chinês-português dos elementos culturais e terminologia jurídica relativa à política do filho único“. Master's thesis, 2021. http://hdl.handle.net/10400.14/35537.
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A “Política do Filho Único”, foi uma marca histórica e social na cultura chinesa
contemporânea. Os problemas sociais decorrentes da implementação dessa política, como
os falsos divórcios, forneceram um material criativo riquíssimo para o mundo literário.
Uma das obras de destaque pertencentes a este período é Wo Bu shi Pan Jinlian
(literalmente significando “Eu não sou Pan Jinlian”) de Liu Zhenyun. O objetivo do
presente projeto é traduzir este romance para português europeu, depois de contextualizar
o período histórico da obra, o autor e a receção da obra a fim de compreender melhor o
texto de partida.
Em segundo lugar, procedemos a uma análise paratextual sobre os títulos
traduzidos no mundo ocidental, explorando, sobretudo, as razões pelas quais uma das
personagens fictícias mais reconhecidas da literatura clássica chinesa, “Pan Jinlian”, foi
traduzida para “uma mulher que matou o seu marido” no título da tradução oficial para a
língua inglesa I did not kill my husband feita por Howard Globatt e Lin, Sylvia Li-chun e
para “Madame Bovary” no título da adaptação fílmica I am not Madame Bovary.
Por fim, realizaremos uma análise textual sobre a tradução que fornecemos,
organizando e agrupando as dificuldades de tradução chinês-português nos elementos
culturais e jurídicos da obra literária contemporânea chinesa, com base nos conceitos
teóricos, sobretudo, de estratégias de tradução (Newmark 1988 e Chesterman 1997),
técnicas de tradução (Molina, L. e Hurtado A. 2002) e as dificuldades de tradução
(Bernardo 1997).The “One-Child Policy” was a historic and social mark in contemporary Chinese culture. The social problems (such as fake divorce) brought by the implementation of this policy, have become a rich creative material for the literary world. One of the outstanding works belonging to this period is Liu Zhenyun's Wo Bu Shi Pan Jinlian (literally meaning “I am not Pan Jinlian”). The aims of this project are the translation of the novel, Wo Bu Shi Pan Jinlian, after the contextualization of the historical period of the work, the author and the reception of the novel, in order to better understand the source text. Secondly, through a paratextual analysis on the titles translated in the Western world, the present study also aims to explore, especially, the reasons why one of the most famous fictional characters in classical Chinese literature, “Pan Jinlian”, was translated into “a woman who killed her husband” in the title of the official English translation I did not kill my husband translated by Howard Globatt and Lin, Sylvia Li-chun and into “Madame Bovary” in the title of the film adaptation I am not Madame Bovary. Finally, this study attempts to establish a textual analysis on the translation we provide, organizing and classifying the typical cultural and legal translation challenges encountered in the Chinese-Portuguese translation of contemporary Chinese literary works, based on theoretical concepts mainly of translation strategies (Newmark 1988 and Chesterman 1997), techniques (Molina, L. and Hurtado A. 2002) and difficulties (Bernardo 1997).
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Chiang, Su-e., und 姜素娥. „A case Study on the Conception of the continuation of "Aesthetic Education" of Yen Shui-long and Liu Chi-hsiang: An Approach to the Perspective of Life History“. Thesis, 2008. http://ndltd.ncl.edu.tw/handle/20764702680529969769.
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碩士南華大學
美學與藝術管理研究所
96
In the early 20th century, modern Western civilization, via Japan’s reign and colonization, spread to Taiwan, which generalized school education and accelerated the development of new contemporary art in Taiwan. was established as the very place where “the modern education” had been put into effect. Before long, the “Drawing Education” was set in both Elementary and Normal school. Introduced by Japanese educationists like Izawa, the idea of “Drawing Education” originated from the West now was taken into Taiwan, in the meantime, the so-called “New Arts” was hence transplanted to Taiwan, too. Under the influence of this new art form, many Taiwanese forerunning artists were enlightened by the “Graphic Education” curriculum and decided to pursue advanced artistic studies in Japan and France; they later completed professional training in art accordingly. Among these efforts, artistic education devised by Shui-long Yan and Chi-Siong Liu, who studied in Japan and France, respectively, are the most conspicuous and prominent. Both artists used their professional artistic abilities and acquired skills and knowledge to cultivate a new generation’s crafts production and artistically creative talents; they made remarkable contributions to the artistic development in Taiwan. During the early days of the postwar period, Taiwan''s cultural and artistic movement started migrating to north Taiwan. The fine arts academia also appeared to value the artistic development in north Taiwan more than south Taiwan. Differentiating themselves from those artists who chose to pursue their careers in north Taiwan, Shui-long Yan and Chi-Siong Liu witnessed the deterioration of cultural and artistic environment in south Taiwan during the early postwar period and selected, independently, south Taiwan as the region for their implementation of “aesthetic education,” which prevented south Taiwan from becoming a cultural desert. The scope of Shui-long Yan’s artistic education was vast. While advocating the “arts and crafts” movement, he presented three (3) business plans: The use of Taiwan’s materials, the improvement of product design, as well as the nurturing of arts and crafts professional talents based on his experience in supporting the “arts and crafts” movement. Especially after he realized that German Bauhaus “crafts and arts” aesthetics and design ideas were consistent with his own practical experience, he wished to establish an arts and crafts school similar to Bauhaus’s. Therefore, Shui-long Yan proposed the plan for founding a crafts instruction institute whose main functions were: 1) to achieve modernization of Taiwan’s crafts industry, 2) to increase the export of crafts. In addition to using these two main policies as blueprint, he hoped to compile the basics for various industries’ instructions, training, and promotion by thoroughly examining related arts and crafts technology in the world, by understanding the production of raw material, and by acquiring operational experience in the usage of tools and machineries. The plan for his crafts instruction institute was thus based on his examining and referencing Bauhaus’s architectural design and his possession of the fundamental educational spirit. Because of his experience in duplicating and imitating the work of European masters of classicism, romanticism, and impressionism, Chi-Siong Liu was influenced by these masters’work, which ignited his desire to nurture artistic talent. After moving to KaoHsiung in the 1950s, he not only chose the sceneries of various places as blueprint for his work but also participated in south Taiwan’s fine arts seminars, or organized meetings for artists, exhibits and related activities, and encouraged the government to establish art museums in numerous locations where “aesthetic education” would flourish. Art museums not only should focus on art education and on the collection of this country’s fine work but also on the acquisition of world-class masterpieces for research and reference purposes. Moreover, Shui-long Yan and Chi-Siong Liu emphasized and advocated the movement of “adaptation of arts in daily living” and “beautification of life,” which originated from their beliefs in “living aesthetics.” To express their concerns for Taiwan’s society, they wished to showcase the art of Taiwan’s native culture and hoped to improve cultural literacy of Taiwan’s citizens. In the implementation of “aesthetic education,” and in the aspect of creative aesthetics, both of them relied on post-impressionism’s painting-oriented aesthetics philosophy as the creativity foundation. Next, in the aspect of living, they believed that the essence of a painting could be obtained from life and living, that art originated from life which is the source for the nourishment of culture. Art, on the other hand, reflects life history of the human race. “Living aesthetics” advocated by Shui-long Yan and “the seed aesthetics education” planted by Chi-Siong Liu revealed their concerns for the society, at the same time reflected their implementation of aesthetic education in Taiwan. Although their implementation directions for“aesthetic education” were different, their beliefs and spirit were the same. They forsook imitation and upheld continuity; their new concept of the emphasis on painting from nature promoted free revelation of wisdom, sensitivity, sentiment, as well as the coordination of hands, eyes, and brain; they picked themes that were with “local characteristics.” They started their implementation of “aesthetic education” in cultural and art education, eventually contributed significantly to the development of Taiwan’s native art.
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wang, jun-wein, und 王志文. „Analysis of Tung-an people''''s lineage organizations along Tan-shui River by the territories of their member groups: the cases of Yen-lou Li, Yueh-shan Li, His-ting Chen, and Kuo-tzu-yi-hui“. Thesis, 2000. http://ndltd.ncl.edu.tw/handle/08265757115948468972.
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碩士臺南師範學院
鄉土文化研究所
89
This research uses historical, geographical, anthropological methods, covering four Tung-an people''''s lineage organizations along Tai-shui R. as Yen-lou Li, Yueh-shan Li, His-ting Chen, and Kuo-tzu-yi-hui, to analysis the differences of their member groups'''' territories for elaborating the society meaning of Tung-an people''''s lineage organizations. The following points emerge from this study: (1) Yan-lou Li has own four member groups. The territories of these groups cover the region between Tan-shui R. and Chi-lung R. and go into the mountain area of Pei-tou. This area is developed by the industries of the earlier period. (2) Yueh-shan Li has own seven member groups. The territories of these groups cover the lower stretch of Tai-shui R.. Tung-an people have the superior position in this area. In addition, the cross-river ferries belong to the same group could be proved that they were in the same living sphere in the past. (3) His-ting Chen has own eight member groups. Commercial villages along the middle stretch of Tai-shui R. set up in the range of the groups'''' territories. Besides, the qualification of members is not necessary nowadays. (4) Kuo-tzu-yi-hui has own four big member groups. And nineteen small member groups are included. This organization is difference from traditional lineage organizations by several places: Some groups are organized by Chang-chou people, and they manage the organization by parliamentary system. The Fu-chou-tsai Wang is also described in this study. It is another kind of Tung-an people''''s lineage organizations along Tan-shui R. In this kind, The member groups won have religious activities with other Tung-an people. Comparing the difference with those member groups will promote our understanding of Tung-an people''''s lineage organizations. According to the traditional ancestor worship ceremonies, we could find out the social meaning of Chinese immigrant society structure: each territory of member groups create the "point" of Tung-an people hamlet. And these "points" can be organize to lots "lines" by the activities of ancestor worship. Finally, these "lines" will compose a living sphere by the same lineage groups.
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CHEN, HUNG JUI, und 洪睿珍. „The “others” of Historical Re-presentation—Take Huang Shujing’s “Record of a Tour of Duty in the Taiwan Strait” and Liu-shi-qi’s “Illustrations of the Savage Villages” as Examples“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/08259568598749864964.
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碩士國立嘉義大學
史地學系研究所
99
This thesis adopts “postcolonial theory” perspectives to analyze the writings which were written about Taiwanese indigenous peoples by the governors in the Qing Dynasty, trying to let the historiogaphy of early Taiwanese indigenous study re-present in another way－in this thesis called ‘The “others” of Historical Re-presentation’, one facet is to research that how those authors regarded Taiwanese indigenous peoples, how they wrote the indigenous peoples；on the other hand, we hope after this discussion, we can know nowadays how we can re-present the incomplete history－at least we could know how to face these so-called histories. This thesis is going to be discussed in two steps. First is the definition of “Historical Re-presentation” and the” others”, defining clearly about the” other’s writing” and “self-writing”. The next is to interpret the research text, analyze about individually Huang Shujing’s “Record of a Tour of Duty in the Taiwan Strait” and Liu-shi-qi’s “Illustrations of the Savage Villages”, and research the writing way that Han people used to write about those indigenous peoples in their writings. The following is of the chapter arrangement： Chapter one is a PREFACE: to expound the research motivation and the goal of this thesis, the research data and methods , the review of the research result, and the chapter arrangement. Chapter two is a RECORD REVIEW, which is divided into three sections: in the first section is the definition of “Historical Re-presentation” and the” others”, in the second section is the research of the important theory and scholars of post colonialist, and in the last section is the discussion that Said’s ”Orientalism” and his “imaginative geographies” and in this thesis how this theory is used to research Huang Shujing’s “Record of a Tour of Duty in the Taiwan Strait” and Liu-shi-qi’s “Illustrations of the Savage Villages”. Chapter three is the analysis of Historical Re-presentation of Huang Shujing’s “Record of a Tour of Duty in the Taiwan Strait”: to research how Huang wrote this text, how he described Taiwanese indigenous peoples and their lives and at last, and to analyze it with the theory of post colonialist. Chapter four is the analysis of Liu-shi-qi’s “Illustrations of the Savage Villages”: to use the theory of post colonialist to discuss this text. Chapter five is a Conclusion: to integrate these results of the analyses and to bring up what I have learned from the study.