Academic literature on the topic 'Dynastie Xi-Xia'
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Journal articles on the topic "Dynastie Xi-Xia"
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Cho, Bok Hyeon. "The Marriage of Li Yuan-hao of Xi-xia and Khitan Princess Xing Ping the War between Khitan and Xi-xia." Institute of History and Culture Hankuk University of Foreign Studies 84 (November 30, 2022): 187–216. http://dx.doi.org/10.18347/hufshis.2022.84.187.
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Xixia and Khitan maintained friendly relations between the two countries through their marriage to Li Ji Qian and princess Yi Cheng. And secondly, Li Yuan-hao and princess Xing Ping could be married. Although Li Yuan-hao was an outstanding monarch who founded the country, he also had a side to the immoral tyrant.Li Yuan-hao married Khitan princess Xing Ping. But She died of illness seven years after her marriage, and Khitan did not visit her when she died. Later, when Khitan's envoy asked the cause of the princess's death, he gave no answer, which angered the Khitan emperor.
Xixia had strong dissatisfaction with Khitan's coercive attitude and financial problems. Khitan was angered by Li Yuan-hao's arrogant attitude, the death of Princess, and the attribution of the Dang Xiang tribe, which eventually led to war. It began in 1044 when Xing-zong of Liao Dynasty advanced in three directions with 176,000 soldiers. In the early days of the war, Khitan prevailed, but as Li Yuan-hao retreated, he gained victory by using tactics to eliminate the horse's prey and fatigue the soldiers. When Li Yuan-hao died in 1049 and Yizong, who was only one year old, ascended to the throne, Xingzong of Liao Dynasty started another war. Although Xixia surrendered and Khitan won, the relationship between the two countries was not as good as it used to be, and Khitan refused when Xixia proposed marriage again. From this point of view, it can be seen that the marriage of Li Yuan-hao and Princess Xing Ping eventually had a negative impact on the relationship between the two countries.
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McGrath, Michael C. "Bibliography of English Language Sources, 1996 – 2002 : Five Dynasties, Liao, Song, Xi Xia, Jin, and Yuan." Journal of Song-Yuan Studies 39, no. 1 (2009): 173–216. http://dx.doi.org/10.1353/sys.0.0007.
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Wang, Shiru, and Yulia Ivashko. "GENESIS OF THE VISUAL CONCEPT OF CAVES INTERIORS OF THE DUNHUANG TEMPLE COMPLEX (4TH – 14TH CENTURIES)." Spatial development, no. 5 (November 24, 2023): 3–11. http://dx.doi.org/10.32347/2786-7269.2023.5.3-11.
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The cave temple complex of Dunhuang is a unique example of a large-scale synthesis of arts in the interiors of sanctuaries of the 4th – 114th centuries. The article systematizes the scientific source base, the materials of the graduate student's own field studies, and on their basis, the periodization of wall paintings and sculptures is analyzed and the peculiarities of the genesis of the figurative concept, methods of artistic expression, common plots, etc. are determined.
The innovation of the presented research consists in summing up the evidence base for known theses. This is traced by various defining features, which are specific plots in different periods, compositional structure, polychromy, methods of detailing. Using the example of the wall painting with Buddha, the well-known chronology of the three stages of the development of the wall painting is visually argued and detailed:
– 1st stage – period of development (Northern Liang Dynasty (401-439), Northern Wei Dynasty (439-534), Western Wei Dynasty (535-556), Northern Zhou Dynasty (557-581));
– 2nd stage – the period from prosperity to decline (Sui dynasty (581-618), Tang dynasty (618-907), Five Dynasties and Ten Kingdoms (907-960), the Northern Song dynasty (960–1127);
– 3rd stage – period of borrowings (Xi Xia dynasty (1038-1227), Yuan dynasty (1271-1368).
A comparison of the stages of the development of frescoes and sculptures and the periods of the appearance, flourishing and decline of various genres of wall painting (religious Buddhist, portrait, landscape) showed that despite the fact that the political and economic situation, the cultural and artistic preferences and religious commitment of the rulers equally influenced the activation of the development or the decline of art, the stages of development of mural painting and sculpture do not always coincide. In the same way, the period of the appearance and spread of various subjects was analyzed and it was proved that the canonical Buddhist images also underwent significant changes, giving rise to new and new compositions (for example, the appearance in the Tang era of the composition "Buddha in Nirvana" with a giant figure of the Buddha, or the spread of sculptures of a multi-armed Guanyin in the Yuan era).
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Zhu, Tianshu. "Lute, Sword, Snake, and Parasol—The Formation of the Standard Iconography of the Four Heavenly Kings in Chinese Buddhist Art." Religions 14, no. 6 (June 16, 2023): 798. http://dx.doi.org/10.3390/rel14060798.
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The Four Heavenly Kings, Sida Tianwang 四大天王, are the guardians of the four quarters of the world in Buddhism. They are among the most frequently represented protective deities in Buddhist art across different traditions. In their standard iconographies developed in China popular during the Ming and Qing dynasties (1368–1911), they wear full armor, and each holds exclusive attributes—lute (pipa 琵琶), sword, snake, and parasol—from the east, south, west, to the north respectively. There is no direct textual base in the Chinese cannon for such iconographies. Neither can we find prototypes in India or central Asia. Indeed, how did this iconographic group develop in China? In the past, since the standard iconographies of the Four Heavenly Kings are clear, and identification is no problem, comprehensive in-depth study on this is lacking. Actually, those attributes came from a Tantric tradition related to Tibetan Buddhism filtered through the Xi Xia (1036–1227) and Yuan (1206–1368). What revealed in the development of this iconography is the complex relationship among the Tibetan, Tanguts, Mongols, and Chinese Buddhism.
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Weizhang, Yin. "1. A Reexamination of the Erlitou Culture." Early China 9, S1 (1986): 1–2. http://dx.doi.org/10.1017/s0362502800002881.
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ABSTRACTScholarly opinion is divided on the question of whether the cultural remains of Erlitou Periods III and IV belong to the early Shang. This paper carries the analysis of the remains from these two periods one step further, emphasizing a group of new cultural elements, including li-cauldrons, wide-mouthed zun-beakers, curled lip round-bottom pen-basins, and narrow-mouthed long-necked weng-jars and jia-tripods. These artifacts are compared to similar remains from Zhengzhou Erligang and the obvious similarities between the two are pointed out. The Erlitou III and IV group of cultural elements exhibits a tendency to replace and assimilate that group of cultural elements originally presented in Erlitou Periods I and II, thus making clear that the differences and changes between the remains of II and III have epoch-making significance. A similar phenomenon can be observed to take place in the cultural features of the Central Plains with the change in dynasties between the Shang and Zhou and between the Zhou and Qin periods. It is proposed that the changes appearing between the Period II and Period III remains reflect a contemporary social change. Since the foundations of a large palace were discovered among the Period III cultural remains from the Yanshi Erlitou site, and since this site agrees with the location of Tang's capital Xi Bo, as recorded in surviving literature, Erlitou Periods III and IV may already belong to the Shang dynasty. On the basis of this analysis we have reason to believe that during the time of Cheng Tang the development of the culture of the Shang tribe reached a major turning point. At the time of its establishment the Shang kingdom appears on the Central Plains as an early slave state possessing a certain level of civilization. The discovery and identification of the cultural remains of the early Shang will be significant in the exploration of pre-Shang or Xia culture.
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Smith, Paul Jakov. "The Fragility of Peace: Song China's Northwestern Frontier and Erosion of the Chanyuan Paradigm in the Mid-Eleventh Century." Journal of Chinese History, September 5, 2023, 1–29. http://dx.doi.org/10.1017/jch.2023.18.
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Abstract The Chanyuan Covenant of 1005 that ended decades of war between Song and Liao precipitated a new political model that, from the Song perspective, exchanged wealth, territory, and dynastic pride in return for peace along the northern frontier, civilian sovereignty over a long-dominant military class, and the replacement of a culture of arms with the love of books. That “Chanyuan Paradigm” survived the Qingli war of 1040–1044 with the Tangut Xi Xia, but was steadily overturned in the expansionist wars promoted by Shenzong and his sons from 1068 through the fall of the Northern Song in 1127. This article argues that the fragility of the Chanyuan-style peace did not stem from the aspirations of a revanchist emperor and his confidantes, but was rather the consequence of the intrinsic difficulties of maintaining peace in a world of new players, internecine political contests, and shifting geopolitical alliances that characterized the mid-eleventh century.
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Cao, Yunrui, Jinlin Ma, Chaohua Hao, and Qi Yan. "Tangut character image generation based on cycle-consistent adversarial networks." Journal of Intelligent & Fuzzy Systems, January 24, 2023, 1–18. http://dx.doi.org/10.3233/jifs-221892.
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Tangut characters were created by the Tangut of the Western Xia (Xi Xia) Dynasty in ancient China and are over 1000 years old. In deep-learning-based recognition studies on Tangut characters, the lack of category-complete datasets has been problematic. Data augmentation cannot augment the character categories of unknown styles, whereas the use of image generation can effectively solve the problem. In this study, we consider the generation of antique book calligraphy styles of Tangut characters as a problem of learning to map from existing printed styles to personalized antique book calligraphy styles. We present M-ResNet, a multi-scale feature extraction residual unit, and Tangut-CycleGAN, a model for generation Tangut characters that combine M-ResNet and a cycle-consistent adversarial network (CycleGAN). This method uses unpaired data to generate Tangut character images in the calligraphy style of ancient books. To enhance the response of the model to significant channels, a squeezing-and-excitation (SE) module is introduced based on Tangut-CycleGAN to design the Tangut-CycleGAN+SE method for generating images of Tangut characters. This method is not only suitable for Tangut character image generation, but also can effectively generate calligraphy with aesthetic value. In addition, we propose an overall quality discrepancy evaluation metric, FA (Fréchet inception distance + Accuracy), to evaluate the quality of character image generation, which combines style discrepancy and content accuracy metrics.
Dissertations / Theses on the topic "Dynastie Xi-Xia"
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Lefebvre, Romain. "L'imaginaire de l'autre : étude et analyse de la réception du chapitre 41 de l'Avataṃsakasūtra en langue de Tangoute, conservé à l'Université de Pékin et à l'Institut des Hautes Etudes chinoises du Collège de France." Thesis, Artois, 2013. http://www.theses.fr/2013ARTO0007.
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D'origine nomade, ils avaient conquis les territoires du nord-ouest de la Chine, allant d'une partie au sud de la Mongolie Intérieure au nord du Qinghai, à l'ouest du Gansu, la région du Ningxia et une partie ouest du Shaanxi. Une fois installés dans cette vaste région, ils se développèrent rapidement, tant sur le plan culturel que sur le plan économique, et fondèrent en 1038 leur royaume. À partir de cette date, ils créèrent leur propre langue et écriture, en partie à base du chinois classique, et renforcèrent leurs relations avec leurs puissants voisins frontaliers, à savoir : au sud-est de leur territoire les Song du Nord, au nord les Liao, au nord-ouest les Ouïghours et enfin au sud-ouest les tribus Tibétaines. Ils avaient adopté le Bouddhisme en tant que religion d'État et pratiquèrent, avec ferveur, les pratiques bouddhiques. De parts et d'autres du royaume, des grands centres d'activités bouddhistes, ainsi que des temples furent mis en place, afin d'y entreprendre des traductions de volumes du Grand canon bouddhique chinois, qu'ils avaient en partie obtenu des Song du Nord, vers leur propre langue. De ces textes traduits en langue de Xi Xia, de nombreux volumes furent découverts au cours des deux précédents siècles. La recherche sur Xi Xia et ses sources textuelles, notamment bouddhiques, sont autant d'indices de la richesse culturelle et linguistique de cette nation éphémère de la Chine antique, qui a pourtant participé au grand développement des traductions bouddhiques et de l'imprimerieAs nomadic people, they conquered the northwest territories of China, from south of Inner Mongolia to north of Qinghai, to west of Gansu, all of the region of Ningxia and a west part of Shaanxi. Once they had settled in this vast region, they quickly developed on both economical and cultural aspects, and founded their kingdom in 1038. From this moment, they created their own language and writing system, mostly from the Chinese language, and enhanced their relationships with their mighty neighbors outside their borders, such as North Song dynasty in the southwest part, the Liao in the north part, the Uyghur in the northwest part and the Tibetan tribes in the southwest part. They adopted Buddhism as religion of the State. During all the regencies, they indulged themselves in practicing Buddhist activities. Within the Xi Xia kingdom, many Buddhist centers and temples emerged, from which translations of the Great Buddhist Canon, mostly obtained from North Song Court, were made towards their own language. From these texts written in Xi Xia language, many of them were excavated or just found during the last couple centuries. The research on Xi Xia and its textual resources, Buddhist texts among others, are as much as evidence there should be to reveal the cultural and language wealth of this ephemeral State of ancient China, which however took part in the huge development of translating and printing Buddhist texts
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Sun, Way. "Recherche des sons perdus de la musique xixia." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL065.
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De tout ce qui a rapport aux musiques tangoutes et xixia, on met ici un accent particulier sur les instruments, les notations, les poèmes, les images, le lexique et les types de spectacles. Tous ont subi l'influence des musiques traditionnelles tangoutes, d'autres groupes ethniques, et surtout celle des Plaines centrales. Le travail du terrain au nord-ouest de la Chine a permis de collecter des sources, effectuer des recherches dans des instituts, échanger avec des chercheurs, et voir in situ les peintures murales. Surtout, parcourant l'environnement des Xixia je me suis m'imprégnée par l'écoute de leur culture, associant sources historiques, impressions et analyse assistée par ordinateur. Plus qu'un patrimoine ou des vestiges, j'ai découvert des trésors cachésOf everything relating to Tangut and Xixia music, particular emphasis is placed here on the instruments, notations, poems, images, lexicon, and performances. All have been influenced by traditional Tangut music, by other ethnic groups, and especially that of the Central Plains. Fieldwork in northwest China made it possible to collect sources, carry out research in institutes, exchange with researchers, and see the mural paintings in situ. Above all, traveling through the Xixia environment, I immersed myself through listening to their culture, combining historical sources, impressions and computer-assisted analysis. More than heritage or relics, I discovered hidden treasures
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Zhang-Goldberg, Diane. "Les vestiges funéraires Xixia et leur interprétation : art, rites et croyances dans l’au-delà au royaume des Tangoutes." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP033.
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Sédentarisés dans le nord-ouest de la Chine actuelle pendant la dynastie Tang, les Tangoutes créèrent sous les Song l’empire Xixia (en 1038), que les armées de Genghis Khan détruisirent en 1227. La présente thèse porte sur la culture funéraire des Xixia. Elle se fonde sur une étude exhaustive des tombes fouillées à partir des années 1970. Leur nombre est limité, mais leur variété permet de dresser un tableau relativement complet dans la mesure où ces sépultures appartiennent à des classes sociales différentes, de la population ordinaire jusqu’aux souverains, en passant par des aristocrates et des moines. L’analyse des sources écrites vient étoffer celle des vestiges archéologiques. Elles sont également peu nombreuses, mais présentent l’avantage d’avoir plusieurs origines : ce sont principalement des sources chinoises (annales historiques, témoignages de lettrés ou fonctionnaires) et des textes administratifs Xixia. Elles permettent en particulier de confirmer la diversité des pratiques funéraires (la crémation et l’ensevelissement constituant deux modes récurrents) et leur spécificité en fonction de la classe sociale, ou même de l’âge du défunt. La comparaison des vestiges funéraires Xixia avec ceux des Chinois et des autres peuples périphériques permet, au contraire de l’opinion générale véhiculée dans la littérature universitaire chinoise, de faire apparaître l’originalité et la créativité de ce peuple. Celle-ci semble même se manifester jusqu’au plan individuel, en particulier dans l’individuation des tombes ou l’élaboration de motifs décoratifs spécifiques aux tombes impériales. Ce constat conduit à suggérer que les sépultures Xixia constituaient de véritables tombes-portraitsAfter settling in the North-Western part of present China during the Tang dynasty, the Tangut established the Xixia empire under the Song (in 1038). It lasted until 1227, when the dynasty was defeated by the armies of Genghis Khan. This thesis is focused on Xixia funerary culture. It is based on a comprehensive survey of the tombs which have been excavated since the 1970s. They are not numerous, but varied enough to draw a global picture since the tombs belong to members of different social status, from ordinary people to rulers, from aristocrats to monks. Analysis of written documents allows to expand the study of archaeological findings. They are in limited number too, though advantageously from multiple origins, mainly Chinese sources (historical annals, records from scholars and civil servants) and Xixia administrative documents. They notably confirm the diversity of funerary practices (cremation and burying being two recurring modes) and their specificities according to the deceased’s social class, or even his age. A comparison between Xixia funerary remains and those from Chinese or other peripheral peoples leads, conversely to the general view conveyed by Chinese academic literature, to stress the originality and creativity of the Tangut people. As a matter of fact, it seems to show down to the personal level, particularly through tombs architectural individualisation as well as through the production of specific decorative patterns in imperial tombs. These observations suggest that Xixia graves represented real portrait-tombs
Books on the topic "Dynastie Xi-Xia"
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Ningxia she hui ke xue yuan. Xi Xia yan jiu yuan. Xi Xia yan jiu lun wen ji: Zeng ding ban. Nanjing Shi: Feng huang chu ban she, 2017.
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Ningxia she hui ke xue yuan. Li shi yan jiu suo. Xi Xia yan jiu lun wen ji. Nanjing Shi: Feng huang chu ban she, 2015.
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author, Yang Xiushan, ed. Xi Xia wen ming. Yinchuan Shi: Ningxia ren min chu ban she, 2016.
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Chen, Guang'en. Xi xia Yuan shi yan jiu lun gao. Beijing: Zhongguo she hui ke xue chu ban she, 2017.
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Yajian, Liu, and Li Zhaolun, eds. Xi Xia yi zhen. Beijing Shi: Wen wu chu ban she, 2013.
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Hu, Yubing, writer of added commentary, ed. Xi Xia shu shi jiao zhu. Shanghai: Shanghai gu ji chu ban she, 2021.
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author, Wen Zhiyong 1966, ed. Wen hua ren tong shi yu xia de Xi Xia Zang chuan fo jiao yan jiu: A research of Tibetan buddhism in tangut under the perspective of cultural identity. Beijing: Zhongguo she hui ke xue chu ban she, 2021.
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Zeng, Ruilong. Tuo bian xi bei: Bei Song zhong hou qi dui Xia zhan zheng yan jiu. Hangzhou: Zhejiang da xue chu ban she, 2019.
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Ren, Changxing. Xi Xia yan ye shi lun. Beijing: Zhongguo jing ji chu ban she, 2016.
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author, Chen Aifeng 1980, ed. Xi Xia yu zhou bian guan xi yan jiu: Xixia relationship with the surrounding. Lanzhou Shi: Gansu min zu chu ban she, 2012.
Find full textBook chapters on the topic "Dynastie Xi-Xia"
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Thierry, François. "Deuxième partie. Dynastie tangoute des Xi Xia 西夏 (1032-1227)." In Monnaies chinoises. Tome IV, 135–37. Éditions de la Bibliothèque nationale de France, 2014. http://dx.doi.org/10.4000/books.editionsbnf.1386.
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