Literatura académica sobre el tema "From Yuan to Qing dynasties"
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Artículos de revistas sobre el tema "From Yuan to Qing dynasties"
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Yap, C. T. y Younan Hua. "Principal Component Analysis of Chinese Porcelains from the Five Dynasties to the Qing Dynasty". Zeitschrift für Naturforschung A 47, n.º 10 (1 de octubre de 1992): 1029–33. http://dx.doi.org/10.1515/zna-1992-1004.
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AbstractThis is a study of the possibility of identifying antique Chinese porcelains according to the period or dynasty, using major and minor chemical components (SiO2 , Al2O3 , Fe2O3 , K2O, Na2O, CaO and MgO) from the body of the porcelain. Principal component analysis is applied to published data on 66 pieces of Chinese procelains made in Jingdezhen during the Five Dynasties and the Song, Yuan, Ming and Qing Dynasties. It is shown that porcelains made during the Five Dynasties and the Yuan (or Ming) and Qing Dynasties can be segregated completely without any overlap. However, there is appreciable overlap between the Five Dynasties and the Song Dynasty, some overlap between the Song and Ming Dynasties and also between the Yuan and Ming Dynasties. Interestingly, Qing procelains are well separated from all the others. The percentage of silica in the porcelain body decreases and that of alumina increases with recentness with the exception of the Yuan and Ming Dynasties, where this trend is reversed.
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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, n.º 3 (10 de septiembre de 2020): 134–44. http://dx.doi.org/10.36340//2071-6818-2020-16-3-134-144.
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In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.
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Wang, Tongxin. "History of Chinese Classical Gardens". International Journal of Education and Humanities 4, n.º 3 (27 de septiembre de 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 profound Chinese classical garden system in world history. Based on the history of Chinese classical gardens, the paper focuses on the historical background of the development of the Song garden, the characteristics of typical gardens and literati gardens in the two Song dynasties, in order to understand the development process of the Song garden more deeply. Under the condition of learning and understanding, the method and concept characteristics of classical garden design in Song Dynasty are inherited and applied to modern garden planning and design.
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Yuan, Chuanchuan y Mu Jiang. "Migration and Land Exploitation from Yuan to Qing Dynasties: Insights from 252 Traditional Villages in Hunan, China". Sustainability 15, n.º 2 (5 de enero de 2023): 1001. http://dx.doi.org/10.3390/su15021001.
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This paper investigates 252 traditional villages in Hunan, China, and uses ArcGIS and Geodetector to analyze village expansion and land exploitation from the Yuan dynasty to the Qing dynasty caused by factors such as migration during China’s middle and late imperial periods. This article demonstrates the development of land by the earlier settlers of ancient Chinese villages and shows the progression from easily exploited flatlands to more difficult-to-exploit mountainous areas. It also shows that early settlers relied more on natural factors when establishing their villages during the Yuan Dynasty but relied more on factors such as transportation due to the migration policies introduced during the Ming and Qing Dynasties. This paper will help us to determine the migration dynamics of ethnic groups and the distribution of settlements in the region (Hunan region) during the Yuan, Ming, and Qing eras.
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Ziyu, Lju. "述补结构与处置式发展关系初探". Cahiers de Linguistique Asie Orientale 36, n.º 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 its frequency in later periods.
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Yap, C. T. y Younan Hua. "Raw Materials for Making Jingdezhen Porcelain from the Five Dynasties to the Qing Dynasty". Applied Spectroscopy 46, n.º 10 (octubre de 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 porcelains made thereafter have varying amounts of kaolin added to the porcelain stone. Except for a reversal during the Yuan and Ming Dynasties, we found that the amount of kaolin added was a function of time, reaching as high as about 60% during the Qing Dynasty.
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Chen, Andrea. "Silk Road Influences on the Art of Seals: A Study of the Song Yuan Huaya". Humanities 7, n.º 3 (15 de agosto de 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 interdisciplinary approach to analyse, probably for the first time in the field, some cases of Song Yuan Huaya, in which a dialogue between the Han seal tradition and Silk Road culture occurs. The findings will hopefully advance the understanding of the complicated nature of the art history, society, peoples, and ethnic relationships in question, and will serve as the starting point for further studies of intercultural communication during specific historical periods.
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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, n.º 12 (diciembre de 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 periods and identify their main characteristics. Initially, the prehistoric palette was limited to five primary colors. However, with the rise of the Wei and Jin dynasties and the influence of Buddhist art, the palette expanded, impacting techniques such as Qinliu. The Tang dynasty represented the pinnacle of color usage, while the Song period shifted focus toward mascara and brushstroke variations. In contrast, the Yuan period showcased a refined application of mascara, favoring subtle shades over bright colors. Research methods include historical periodization and art historical attribution to analyze color scheme changes from the 7th to the 14th centuries. The scientific novelty of this research adds to theoretical frameworks regarding color use in Chinese art. Each era contributed uniquely to the development of fine art, with constant evolution in color schemes during the Tang, Song, and Yuan dynasties. The subsequent Ming and Qing dynasties emphasized black, reflecting inner emotions and signifying a shift from floral colors to ink. This transition correlates with political, economic, and cultural transformations, as well as philosophical influences. The findings have both theoretical and practical significance, applicable in educational contexts and future research.
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Song, Hui, Qingwen Meng y Chenyang Wang. "Spatial Distribution Characteristics and the Evolution of Buddhist Monasteries in Xi’an City Area". Religions 14, n.º 9 (22 de agosto de 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 cultural buildings and warehouses, discretely surrounded by administrative buildings. The spatial distribution evolution of Buddhist monasteries has evolved evenly during the expansion of the Xi’an city area, through the Song, Yuan, Ming, and Qing dynasties. This study provides a reference for the preservation of Buddhist monastery spaces in the historical context of Xi’an city area.
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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, n.º 5 (29 de diciembre de 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, developing and innovating the excellent traditional culture of China. In order to meet the needs of the times, Marxism should also keep pace with the times, continue to inherit, develop, innovate and change in combination with China's national conditions. From the inheritance and development of strange novels in the Wei, Jin and the Southern and the Northern Dynasties, this article explains the similarities with the thought of cultural inheritance and development in the new era.
Tesis sobre el tema "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 diffusion pour remonter jusqu'à sa production. Bien qu'inhabituel ou apparemment inversé dans sa logique, cet itinéraire ouvre progressivement la voie à une série de questionnements, ce qui permet de nous guider progressivement jusqu'au berceau même de cette porcelaine. Toutefois, l'ambition de cette thèse n'est pas d'écrire une histoire complète du blanc de Chine, mais plutôt de croiser les perspectives mondiale et locale afin de replacer cette porcelaine dans son contexte propre. Une question fondamentale, bien que paraissant à première vue simple et déjà largement abordée, imprègne l'ensemble de cette étude : quelles sont les spécificités du blanc de Chine ? Autrement dit, qu'est-ce qui définit véritablement un blanc de Chine ? Deux résultats tangibles de cette enquête seraient, entre autres, de contribuer à la mise en valeur des collections françaises et de faire reconnaître la valeur patrimoniale des fours-dragon, dont les techniques artisanales de construction et de cuisson sont aujourd'hui menacées de disparitionTranslated as Zhongguo bai 中國白 in modern Chinese, the term “blanc de Chine” today refers to the white porcelain produced in Dehua kilns, situated in Fujian's coastal province, where production has continued since the Ming dynasty (1368-1644). Despite its prominent presence in French collections, research specifically dedicated to this porcelain remains limited, leaving key questions about its identification, origin, and dating unresolved. This dissertation, therefore, seeks to offer a new synthesis on blanc de Chine, beginning with its reception in Europe, then examining its dissemination, and finally tracing it back to its origins in production. Though unconventional or seemingly reversed in approach, this trajectory gradually brings us to essential questions, ultimately guiding us back to the origins of this porcelain. The aim of this dissertation is not, however, to write a complete history of blanc de Chine. Instead, it endeavors to integrate global and local perspectives to place this porcelain within its unique historical context. One fundamental question—simple in appearance yet widely debated—shapes this study: What are the specific characteristics of blanc de Chine? In other words, what precisely defines blanc de Chine? Among the tangible goals of this work are to enhance the appreciation of French collections and to promote the cultural value of dragon kilns, whose artisanal construction and firing techniques face extinction today
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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 chapitres sur les procédures mathématiques (ci-après, Les Neuf chapitres) ont représenté un ouvrage très important au cours de l’ensemble de ces périodes. L'achèvement des Neuf chapitres, tel que transmis par la tradition écrite, date de quelque part entre le premier siècle avant notre ère et le premier siècle après notre ère. Les Méthodes mathématiques (1261) de Yang Hui et le Grand Compendium (1450) de Wu Jing sont de précieux écrits mathématiques rédigés au cours des deux périodes examinées. Ils sont basés sur Les Neuf chapitres et leurs commentaires antérieurs. Pour ce qui concerne la question de la continuité entre textes mathématiques, ma thèse propose des études de cas comparant ces deux livres, qui montrent que Wu Jing a systématiquement repris des parties du texte des Méthodes mathématiques pour compiler le Grand Compendium. La manière selon laquelle Wu Jing a extrait des passages dans chaque chapitre de Yang Hui pourrait être utilisée pour récupérer en partie le texte de Yang Hui. En ce qui concerne la continuité des idées mathématiques, tout d’abord, l’organisation et l’ordre des problèmes du texte ancien tel que revus par Yang Hui sont des résultats essentiels du traitement des Neuf chapitres par l’érudit des Song. Wu Jing les a repris lorsqu'il a organisé les problèmes du Grand Compendium. Par ailleurs, Yang Hui a beaucoup insisté sur les « méthodes mathématiques ». Il en a ajouté de nouvelles et en a modifié d’autres qui provenaient des Neuf chapitres. Wu Jing a compris ces modifications et les a adoptées dans son Grand Compendium. En même temps, certains concepts et termes mathématiques, ainsi que l’utilisation de diagrammes, relatifs aux méthodes mathématiques qu’avait introduits l’érudit des Song, ont également été intégrés dans le Grand Compendium. Toutes ces découvertes montrent que Les Neuf chapitres qui ont circulé sous la dynastie des Ming avaient largement intégrés les réflexions et le travail de l’érudit des SongThe discourse of “break” between the mathematics of the Song-Yuan period and that of the Ming period is quite widespread in the historical writings dealing with mathematics in China. This thesis analyzes the process and the reasons of the shaping of this kind of discourse and suggests that discourses that insisted on a “break” only appeared when observers looked at mathematics from certain viewpoints. This thesis is devoted to finding elements of continuity between the mathematics of the Ming dynasty and that of the Song-Yuan time period. The Nine Chapters on Mathematical Procedures (thereafter, The Nine Chapters) represented a very important book during these two periods. The completion date of The Nine Chapters in the form that was handed down is placed somewhere between the first century B.C.E. and the first century C.E. Yang Hui’s Mathematical Methods (1261 C.E.) and Wu Jing’s Great Compendium (1450 C.E.) are extant and precious mathematical writings from the two periods considered, which were based precisely on The Nine Chapters and its ancient commentaries. With respect to the continuity of mathematical text between these two books, my dissertation offers case studies that show that Wu Jing systematically took parts of the text of Mathematical Methods to compile Great Compendium. The rule by which text was extracted from each chapter could be used to partly recover Yang Hui’s text. With respect to the continuity of mathematical ideas, firstly, the arrangement and the order of problems are essential results of the Song scholar’s treatment of The Nine Chapters. They were taken up by Wu Jing when he arranged problems in Great Compendium. Secondly, Yang Hui laid a great emphasis on “mathematical methods”. He added some new mathematical methods and also changed some methods in The Nine Chapters. Wu Jing understood these changes and adopted them in his Great Compendium. Meanwhile, some mathematical concepts and terms, and the use of diagrams, relating to these mathematical methods that the Song scholar introduced, were also absorbed into Great Compendium. All these findings prove that The Nine Chapters that circulated in the Ming dynasty had been largely permeated by the thoughts of the Song scholar
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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.Thesis submitted in: December 2007.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 125-133).
Abstracts in English and Chinese ; some text in appendix also in Chinese.
Abstract
Acknowledgement
Table of Contents
Chapter 1 --- INTRODUCTION --- p.1
Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1
Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2
Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5
Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9
Chapter 1.3 --- RESEARCH MATERIALS --- p.10
Chapter 1.3.1 --- "Forms, words and images" --- p.10
Chapter 1.3.2 --- Research materials --- p.11
Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11
Chapter 1.4.1 --- Study of gardens from paintings --- p.11
Chapter 1.4.2 --- Research methodology --- p.14
Chapter 1.5 --- OUTLINE OF THESIS --- p.14
Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17
Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17
Chapter 2.1.1 --- Early landscape depictions --- p.17
Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18
Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19
Chapter 2.2 --- EARLY QING NANJING --- p.20
Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20
Chapter 2.2.2 --- Garden culture --- p.21
Chapter 2.2.3 --- Artistic milieu --- p.23
Chapter 2.3 --- CHAPTER SUMMARY --- p.26
Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32
Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32
Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32
Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34
Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38
Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39
Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41
Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43
Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47
Chapter 3.3.1 --- Ambiguous boundary --- p.48
Chapter 3.3.2 --- Everyday social encounters --- p.49
Chapter 3.3.3 --- Narrated landscape of the past --- p.52
Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53
Chapter 3.4 --- CHAPTER SUMMARY --- p.54
Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60
Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60
Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61
Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62
Chapter 4.2 --- ZHAN YUAN --- p.67
Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68
Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68
Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69
Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70
Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77
Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77
Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80
Chapter 4.4 --- CHAPTER SUMMARY --- p.82
Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90
Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90
Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90
Chapter 5.2.1 --- Garden boundary and conception --- p.90
Chapter 5.2.2 --- Archetypal garden readings --- p.91
Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92
Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92
Append --- p.ix
Bibliography
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Liu, Shu-min y 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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碩士東吳大學
歷史學系
100
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 exerted a crucial influence on the politico-social and economic environment. Studies on the numbers of Sheng Yuan and the percentage of those promoted to officialdom are basic to social studies during the Ming and Qing Dynasty era. Most existing studies regarding the above topic try to draw general conclusions for the entire nation. But the territory of Ming and Qing China was vast. Different places had different customs. It is difficult to draw general conclusions regarding the social situation everywhere during the two periods. In this regard, studying Sheng Yuan in the Yangzi Delta during the Ming and Qing Dynasties is of academic value. This thesis uses the Sheng Yuan list to analyze the number of Sheng Yuan and the ratio of their promotion in officialdom in the Yangzi Delta during the Ming and Qing Dynasties.
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CHANG、JIA-WEI y 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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碩士國立臺北大學
古典文獻學研究所
96
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 Zhongguo gu dai xiao shuo zong mu ti yao、Volume 1. The documentary features and examples of catalogues collected in this research are concluded in the final part. In terms of the descriptive catalogue、documentary relative issues of each work are discussed、and the catalogues are categorized into five chapters by present situations: 「Existing Catalogue」、「Residual Catalogue」、「Collective Catalogue」、「Lost Catalogue」 and 「Questioned Catalogue」. The principles of the descriptive catalogue are separated into 3 parts: 「The Study of Author」、「The Study of Textualism「、and 「The Study of Content」. The former one tells authors』 birthplaces、backgrounds and works、whereas the second one lists the similarities and differences among different works、and figures out the advantages and disadvantages. The last one adopts authors』 prefaces or various criticisms from Si Ku Quan Shu Zong Mu to explain the main ideas、criticize the results、and judge the values of works. The adoptions or contents adopted by other works are listed、and they can be consulted apparently when both works are collected in this research. The comparative table of partly 「categories of catalogue works」 is attached as an Appendix.
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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.Thesis (Ph.D.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 204-226).
Photocopy. Ann Arbor, Mich. : ProQuest LLC, 2011. xi, 226 p. : music ; 29 cm.
Abstract also in Chinese; includes Chinese characters.
Abstract --- p.i
Abstract in Chinese --- p.iii
Acknowledgments --- p.iv
List of tables --- p.viii
List of graphs --- p.ix
List of appendices at the end of individual chapters --- p.ix
List of abbreviations of qin handbooks --- p.X
Chapter Chapter 1 --- Background of the research --- p.1
Chapter Chapter 2 --- Overview of the research methodology --- p.23
Chapter Chapter 3 --- An illustrated methodology in reconstructing qin music from past scores guyuan 古怨 of the Southern Song Dynasty --- p.36
Chapter Chapter 4 --- Chromaticism in Ming Dynasty scores -baixue 白雪 in Shenqi mipu 神奇秘譜 --- p.67
Chapter Chapter 5 --- From chromaticism to pentatonism - baixue 白雪 in other Ming and Qing Dynasty handbooks --- p.91
Chapter Chapter 6 --- Non-circle-of-fifths intonations in Qing Dynasty scores --- p.119
Chapter Chapter 7 --- Varying 4th and 7th degrees - dongting qiusi 洞庭秋思 in Ming and Qing Dynasty handbooks --- p.143
Chapter Chapter 8 --- Convergence of ideology and practice --- p.168
Chapter Chapter 9 --- Conclusion ´ؤ looking back and looking forward --- p.199
References --- p.204
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LIN, WEI-SHU y 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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博士輔仁大學
中文系
97
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 domestic fictions. In those novels, individuals are encouraged to be able to handle their own lifes. The sense of time in domestic fictions is in the process of everyday occurrence, such as meals, dressing, worship. Those domestic matters narrativing in daily life differences from the description in regular novels but approaches female's point of view. Blooming or adolescent flowers performs years went by rapidllly. Time and space are composing each other in the stories to complete time in the past or illusion in a dream. Seeing time fading away brings about much more emtion and effects in domestic fictions which are in the method of narrative. Therefore, as we can see that the narratives are affacted by a deeper sensation and transfered into lyrics, the expression of time is determined to be the significant role.
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Ho, Hsiang-Ying y 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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碩士南華大學
公共行政與政策研究所
90
【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. Included here is a general discussion and an analysis of three phases of unification. In the general discussion, by examining Chinese culture, the basic concepts of "China" and "Grand Unification" are addressed. The Three phases of unification, which are extracteded from the general discussion, outline the three seperate periods of Grand Unification： Mainland Grand Unification - the period of theYuan and previous dynasties; Transitional Grand Unification - the time of Ming and Qing Dynasties including the issue of sovereignty over Taiwan; and Offshore Grand unification - after Taiwan was incorporated into China during the early Qing Dynasty . Chinese history is known for its integrity and consistency, so is the Grand Unification. Therefore, a question may rise about splitting the Grand Unifiation into three separate periods. For this reason, it must be made clear that the main focuses of this thesis are the phenomena and progression.of unification, and especially the space difference of unification in Taiwan. All in all, the Grand Unification during the Ming and Qing Dynasties had been progressing chiefly on the mainland while facing offshore challenges. The exercises of Mainland and Offshore Grand Unification during this period, therefore, resulted in the bitterest conflicts. When looking back at the Mainland Grand Unification, it should be realized that China has always existed, though there had been an alternation of dynasties, an invasion of different barbarian tribes, or a split of regions. Upon probing deeply into this subject, it is very obvious that the concept of "Family-State-the World" in ancient China has had a deep influence on the culture of unification. Also, there had been four different political characteristics during the Grand Unification periods: Emperor''''s rule: The system changed from feudalism to administrative prefectures and counties; The accomplishment of bureaucractic centralized government, and One-person rule. These complex ruling systems often caused China to be in a state of disorder and disunity, especailly during the South and North Dynasties , as well as Five Dynasties. Despite its chaotic condition, Chinese culture was never destroyed or made extinct. The rule of the Mongols and the Manchus over China. did not interrupt the Chinese heritage,either. What’s more, whether there was a loss or an expansion of its territory, the consistency of Chinese history stayed unharmed after going through so many twists and turns. Without a doubt, this unique consistency had cemented the Mainland Grand Unification . The Grand Unification would have been straightward as a progressive history if it had stayed on the track. But, the Dutch advancing eastward changed the course of Grand Unification and made it expanded to include Taiwan. The Offshore Grand Unification was underway. ever since then. When the Manchu Qing Dynasty succeeded in ruling the whole of China, the remnants of the defeated Ming Dynasty rose against it. This led China to another unification. After Cheng,Cheng-Kung and his people failed to restore the Ming Dynasty, they retreated to Taiwan and established the Ming Cheng Government to fight against the Qing Empire. As time passed, and more Han Chinese people migrated to Taiwan from the mainland, the Chinese culture became deeply rooted in Taiwan. Then Taiwan became involved in the system of Grand Unification. After Taiwan was under the administration of the Qing Dynasty, the offshore Grand Unificaion had officially begun. Through this study, the very important findings are that the Grand Unification has a uniform idea of unification, a variable concept of territory, and an integral principle of exercise. First, it does not only occur on the mainland, but also reach offshore island on the southeast coasts, and even including the farther Taiwan along the Pacific Ocean. Secondly, the exercises of Grand Unification are to consolidate China, not to make itself behave irrationally and invade others’ territories. All other political powers that could threaten China would become engulfed by the unification in a gradual progress. Thirdly, in order to have others unified, a necessary condition is that they have already been experiencing the Chinese disunity. This corroborates that “disunity” and “unification”may exist together. Therefore, any courses of them can be used as a good source of tracing the orgins and trends of the Chinese Grand Unification. From the above findings, it comes to a conclusion: The Grand Unification progressed from the feudal system advanced along with China’s growth. Consequently, despite the extinction of the feudal empire, the Grand Unification will keep going as long as China exists. Key Words：China、The Qin and Han Dynasties、Grand Unification、The Ming and Qing Dynasties、Taiwan
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Chen, Yun-Yu y 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 y 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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博士國立成功大學
歷史學系碩博士班
94
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 the trade and consumption patterns for the imported ceramics in Taiwan in the meantime. The second section attempts to explain the relevant research regarding the imported ceramics (外來陶瓷) of the 17th century in Taiwan, and presents that because of the increasing new archaeological materials in Taiwan, the study of the trade ceramics of the 17th century have gradually become the important academic subject. The last is to establish the chronicle of trade ceramics excavated in Taiwan from the late Ming to early Qing Dynasties. Chapter two “the edge of ceramic trade - the end of the 16th century- A.D. 1622”, in order to explain the coherent relationship of trade ceramics among the 17th century and the previous periods, the first section reviews the research of trade ceramics in Penghu archipelago during Song and Yuan Dynasties, and further analyzes the characteristics and the historical significance of the imported ceramics in Taiwan from Song, Yuan to early Penghu Ming Dynasties (before the 17th century). In the second section, the author focuses on the appearance of the ship route “Small Eastern Ocean” (小東洋) between Taiwan and Fujian in the late Ming Dynasty and the state of ceramic trade (A. D. 1567-1621) of the initial stage in two places. In the same section, it also attempts to explore, from the end of the 16th century until Dutch occupation of Taiwan, the role of Taiwan in the maritime trade in East Asia, and the reason of being the illegal transit point for China and Japan. In the third section, through the stylistic analysis of ceramics, it comparatively clarifies the relevant ceramic material objects excavated in recent years in Taiwan, and tries to reveal their meanings. Chapter three is “The ceramics trade (A.D. 1622-1624) during the Dutch’s occupation of Penghu archipelago”. After United Dutch East India Company (V.O.C.) entered the trade circle of East Asia, she was urgent to seek the trade port near China. The Penghu archipelago (Pescadores) thus became the most striking target by the invaders. Regarding Dutch ceramics trade in Penghu islands, there are not any historical documentation found; however, there are extremely abundant ceramic relics excavated in the specific area (the Dutch fort in Feng-guei-wei region). Thus, the first section in this chapter presents their discoveries and categories. The second section focuses on the relation of the excavated ceramics between Feng-guei-wei site and the Dutch fort. Feng-guei-wei late Ming ceramics reveals the Dutch early trade condition and its pivotal position in ceramic transit trade during Dutch colonial period. In chapter four “Taiwan ceramics trade under the European management (A.D. 1624-1661)”, through the documents collection and statistical analysis, the first section discusses the entire circumstances while Dutch carried on the state of ceramic transit trade in Taiwan. Then it probes into the archaeological excavation and indicates its type as trading ceramics. The second section discusses the residents' imported ceramics consumption condition in Taiwan during Dutch colonial period. Through the documentation and excavated ceramics objects, it analyzes the following in depth such as blue and white porcelain, polychrome porcelain, white porcelain, high temperature stoneware, low-temperature glazed ware, An-ping pot (pale green glazed jar), and other non-Chinese ceramics. The third section discusses Spain occupation of northern Taiwan and its relevant ceramics trade circumstance. It applies the archaeological materials of the 17th century under water and on land in East Asia, tries to interpret the type or ceramics supplies in Spanish historical materials, and discusses the development of ceramic transit trade of the northern Taiwan and consuming network and trader in this period. Chapter five “Taiwan ceramics trade in Ming-Cheng and early Qing (A.D. 1662-1700)” is divided into three parts. The first section mainly discusses ceramic transit trade in Ming-Cheng period. The transit trade policy was continued since Dutch colonial period by Ming-Cheng regime but through examining the excavated objects, it can be found that the trading ceramic types and trading route had been greatly changed. The next section analyzes the imported ceramics consumption in Ming-Cheng period. Due to the lacks of the relevant historical documents, the analyses of the excavated relics from this period become the valuable background to reflect all kinds of imported ceramic consumption condition at its time. The third section focuses on Taiwanese ceramic trade and consumption (A.D. 1683-1700) in early Qing period. The ceramic trade of Taiwan in the end of the17th century appeared an obvious change once again because of the shifts in the political environment and trade center. The coastal areas of China entirely opened so Taiwan lost its transit function as the trade port. On the other hand, along the continuously increasing number of the Chinese immigrants from Fujian and Guangdong areas, the need for imported ceramics in Taiwan switched to the local consumers instead. Chapter six “Conclusion” includes altogether the following topics: “showing the interaction among Taiwan, Jiangxi and Fujian in China, Japan, Southeast Asia, Dutch”, “the vitality of Taiwan as the transit trade port”, “the summit of the traffic overseas activity of Taiwan in Dutch and Ming-Cheng periods”, “the development of consuming imported ceramics for the local residences”, “the characteristics of Taiwan built by the force and nationality”, etc.... It attempts to investigate the historical significance and importance revealed by the imported ceramics found in Taiwan in the 17th century.
Libros sobre el tema "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 Shi: 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. Taibei Shi: 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: Aomen yi shu bo wu guan, 2010.
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Lu, Xiande. Yuan qing hua yu Yuan dai you li hong. Jinan Shi: Shandong mei shu chu ban she, 2016.
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Gu gong bo wu yuan (China), ed. Paintings of the Ming and Qing Dynasties. Hong Kong: Commercial Press, 2015.
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Zhang, Junling. Zhu Jun, Bi Yuan, Ruan Yuan san jia mu fu yu Qian Jia bei xue. Hangzhou Shi: Zhejiang da xue chu ban she, 2014.
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editor, He Ruzhen, ed. Yuan qing hua ci de gu shi. Hangzhou: Zhongguo mei shu xue yuan chu ban she, 2016.
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Zhuang, Ying y Minghua Lu. Yuan qing hua: Bo wu guan hui ben. Shanghai Shi: Hua dong shi fan da xue chu ban she, 2013.
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1254-1322, Zhao Mengfu y Shanghai shu hua chu ban she, eds. Zhao Mengfu Wu xing qing yuan tu. Shanghai Shi: Shang hai shu hua chu ban she, 2020.
Buscar texto completoCapítulos de libros sobre el tema "From Yuan to Qing dynasties"
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Wei, Weixiao. "Yuan–Ming–Qing Dynasties". En The History of Chinese Rhetoric, 117–45. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003206279-7.
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Jian, Gong. "Evolution of the “Crescent Guard” in Chinese Swords". En Martial Culture and Historical Martial Arts in Europe and Asia, 151–82. Singapore: 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". En Western Influences in the History of Science and Technology in Modern China, 109–62. Singapore: 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?" En Studi e saggi, 11–24. Florence: 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 y 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". En Proceedings of the 5th International Conference on Building Energy and Environment, 1553–66. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9822-5_160.
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"Chinese Aesthetics". En Advances in Religious and Cultural Studies, 26–72. 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 y Reginald Yin-Wang Kwok. "Beijing: The Expression of National Political Ideology". En Culture and the City in East Asia, 125–50. 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". En Empires of Eurasia, 231–50. 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)". En A Short History of Paper in Imperial China, 56–70. De Gruyter, 2024. http://dx.doi.org/10.1515/9783110701593-006.
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"Merchants from Huizhou and Shanxi during the Ming and Qing Dynasties". En Wealth Doesn't Last 3 Generations, 213–27. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812797520_0005.
Texto completoActas de conferencias sobre el tema "From Yuan to Qing dynasties"
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Peng, Zhen. "Analysis of the modern significance of the traditional Chinese theater Yuan Zaju (1271–1368)". En 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 course. The main structural scheme of Yuan-Zaju and its modern social influence.
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Hong, Cai-Zhen. "A Study of Spice Trade from the Quanzhou Maritime Silk Road in Song and Yuan Dynasties". En 2nd Annual International Conference on Social Science and Contemporary Humanity Development. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/sschd-16.2016.96.
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Apatóczky, Ákos Bertalan. "Changes of Ethnonyms in the Sino-Mongol Bilingual Glossaries from the Yuan to the Qing Era". En 7thInternational Conference on the Medieval History of the Eurasian Steppe. Szeged: University of Szeged, 2020. http://dx.doi.org/10.14232/sua.2019.53.45-58.
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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". En 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.539.
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Wei, Hui. "The Inquiry in to Life Through the Art of Chinese Penjing". En 5th World Conference on Arts, Humanities, Social Sciences and Education, 105. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-068.
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This research aims to explore the encounters and coexistence of Confucianism, Taoism, and Buddhism existentialism, along with aesthetic philosophies, as the framework. Additionally, it involves comparative reflections with Western aesthetics to examine the convergence, fusion, symbiosis, and development of various schools of Chinese penjing across different temporal contexts—Sui-Tang, Song, Yuan, Ming, Qing, modern, and beyond China's borders. The study seeks to interpret the plant species, design aesthetics, and aesthetic sentiments of Chinese penjing under indigenous philosophies. It aims to reveal the sensibilities and intuitive thoughts of people from different social classes throughout Chinese history in their worldly lives, as well as their contemplations on the meaning of life. Furthermore, the research attempts to propose possibilities for the dynamic balance between the historical inheritance and development of Chinese visual culture and arts. Keywords: Chinese penjing, Confucianism, Taoism, Buddhism, Temporality, Cultural Heritage.
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Baldanmaksarova, Elizabeth. "MEDIEVAL MONGOLO-CHINESE LITERARY RELATIONSHIPS". En 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.32.
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The article is devoted to the study of Mongolian-Chinese literary relations during the Middle Ages. The literary process of medieval Mongolia is characterized by the development in a wide context of literary and cultural relationships with the literatures of Central Asia, South Siberia and the Far East, which was due to both the geographical location and the socio-political situation of the country, starting from the 13th century. When studying the problems of Mongolian-Chinese relations, it is important for us to consider the creative synthesis of two neighboring cultures, which stimulates the development and mutual enrichment of literary and folklore traditions. Mongolian-Chinese literary relations are characterized by development in two stages. The first stage is associated with the formation of the Yuan dynasty of the Mongols in China (1271–1368). It was during this period that the foundations were laid for the unification, synthesis of two different cultures within the framework of one state and the further development of the process of historical and cultural relations. The second stage is characterized by the entry of Mongolia into the Manchu Qing Dynasty of China (1644–1911). It was during this period that the synthesis of the Mongolian-Chinese folklore and literary traditions reached its apogee: a new genre appeared called “book tale” (bensen uliger); numerous translations of Chinese narrative prose, in particular novels, lead to the creation of the genre of the novel — historical, family and everyday — in Mongolian literature. A notable achievement in this genre was the work of the outstanding writer, the first Mongolian author of novels, V. Injannash.
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Danqi, Lu. "History, Sociocultural Implications and Archetypal Characters of “Three Gu Six Po” in Traditional Chinese Novels". En 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 of these “Three Gu Six Po” during the Ming and Qing dynasties by delving into the stories and related reviews in histo-rical accounts. Noticeably, their roles can be simultaneously power-ful due to their social roles within the domestic politics sphere while marginalised and diminished because they are women and of a less respectable working class. And the development of social stereotypes and contemptuous attitudes towards “Three Gu Six Po” can be explored by studying these texts. Under the unnoticeable biased narratives of the elite literati during that period, this group of characters in literary works does not have a complete or identifying name and usually takes on relatively flat and templated personali-ties, with fixed impressions such as eloquence, greed, and lewdness, which suggests a concentration on the issues of gender and class inequalities in that period. Secondly, as a representative member of “Three Gu Six Po”, “Granny Wang” has gradually become a typecast nameless character and is continuously being rewritten. Based on the basic profile of “Three Gu Six Po”, some writers have occasionally given the cha-racter more detailed and vivid portrayals, and in some cases have developed her into a round character with own agency who was aware of her domestic power and made use of it. The logic behind the empowerment of “Granny Wang” through service can be traced back to Chinese philosophy, which makes the character archetype very different from servants or witches in Western countries.