Artículos de revistas sobre el tema "Imperial Maritime Customs"

AbstractThe Great Qing Imperial Post Office was set up in 1896, soon after the First Sino-Japanese War. It provided the first national postal service for the general public in the whole of Chinese history, and was a symbol of China's increasing engagement with the rest of the globe. Much of the preparation for the launch was carried out by the high-ranking foreign staff of the Chinese Maritime Customs Service, an influential institution established after the first Opium War.With a mission to promote modernization and project Qing power, the Imperial Post Office was established with a centrally controlled set of unified methods and procedures, and its success was rooted in integration with the new railway network, a strategy at the heart of its ambitious plans for expansion. This article explores the history of this postal expansion through railways, the use of which allowed its creators to plan networks in an integrated way—from urban centres on the coasts and great rivers through to China's interior.

AbstractThis article examines the conflicts in writing the imperial modern history of China among various stakeholders, particularly Chinese and American historians, and their dealing with a set of personal documents of Sir Robert Hart, Inspector-General of the Chinese Maritime Customs Services (CMCS) during the Qing period. This set of documents is called “Hart Industry” and contains Hart's personal papers and seventy-seven volumes of diaries, among others. Revealing the imperial Inspector-General's view on “westernization” in modern China, the Hart Industry played a key role in the development of the history of modern China throughout the twentieth century. From around 1957 until 1995, the diaries became a source of a highly politicized academic debate between Chinese Communist historians of the People's Republic of China and western historians of the Hart Industry. By providing a “study of studies” on the historiography of the colonial modern history of China, this article argues that the Hart diaries were critical to historians’ understanding of their own academic discourse.

On 6 November 1865, Robert Hart, the 30-year-old Inspector General (I.G.) of the Imperial Maritime Customs Service, presented to his supervisors in the Zongli Yamen, the Qing Empire's new foreign office, a long memorandum critiquing Chinese administrative practices and offering suggestions for improvement. He criticized corruption and inefficiency at all levels of government, called for tax reform, greater specialization and better technical education of officials, improving contacts with the outside world, and promoting foreign methods and technology. The memorandum, written in Chinese, was entitled the ‘Bystander's View’ (juwai pangguan lun). A few months later it was submitted by the Zongli Yamen to the throne, and together with a similar tract by British diplomat Thomas Wade, distributed to senior Qing officials for comment. It had little impact at the time. But forty years later, when the Empress Dowager Cixi reportedly told the author that she wished she had followed his advice, it became a foundation stone of the mythology of Robert Hart, a symbol of the failure of the Qing court to take full advantage of the Portadown native's wisdom. Hart's premise, encapsulated in the title, was that as an outsider to the Qing system he could see problems that insiders could not. ‘The true face of Mount Lu can only be seen in its entirety by one who stands away from it.’ But the memorandum, for all of its notoriety, was uncharacteristic of Hart.

As Britain saw it, trade was not the prime motivating force for Russian expansion in east Asia or, put another way, the Russian frontiersmen were not driven by the actual amount of their trade there or its future potentialities. While Russia was primarily concerned with the tea trade over land frontiers, Britain was concerned with the seaborne commerce of China. The customs revenue paid to China in the year 1894 worked out as follows:Judging from the returns of the Chinese Imperial Maritime Customs Organization, British ships carried 83.5% of China's total trade. But Britain's commercial dominance affected her political stance because she wanted to preserve China's stability for most of the second half of the nineteenth century. This was at the root of the political tensions between Britain and Russia which emerged in China after 1860 and especially those which derived from the spate of railway building which took place from 1890 onwards. It would be foolish to deny that intense rivalry did exist in the area from time to time or that detailed observations of the actions of the one were regularly conducted by the other—what we should now call ‘intelligence operations’. But what I shall suggest in this paper is that, despite all the admitted antagonism and suspicion between Britain and Russia in east Asia, Britain regularly made efforts to reach accommodations with Russia in north-east Asia.

AbstractThis paper looks at the establishment of experimental winter overland postal routes in the late 1870s and 1880s, which eventually led to the creation of the Great Qing Imperial Post Office in 1896. The history of this experiment sheds much light on important issues in the establishment of what was to become the country's most crucial information-bearing network, in particular those related to collaboration and negotiation between foreign and Chinese officials, and those between local interests and the central authorities. It also explores how foreign processes and management had to be adapted in order to function in a Chinese context.In March 1878, Robert Hart, inspector general of the Chinese Maritime Customs Service, instructed Gustav Detring, commissioner of Tianjin Port, to investigate the possibility of introducing overland public postal routes in China, beginning with Beijing to Tianijn, Niuzhuang, Yantai, and then to Zhenjiang, a treaty port on the lower Yangtze River.The three main challenges involved were: to establish a reliable workforce, to design appropriate routes, and to win the cooperation of local governing officials. Although the winter service was initiated on time, problems repeatedly arose from each one of these challenges.

“A handful of foreigners have shown China what they can do against murderous thousands, and it only remains for the Powers to stamp the lesson deeper, and exact punishment for the guilty and full compensation for losses sustained.”— W. Murray Graydon, The Perils of Pekin (1904)“To find something akin in its savage barbarity you must go back to Lucknow, where a mixed multitude shut up in the Residency were holding out against fearful odds in expectation of relief by Havelock’s Highlanders, resolved to perish of starvation rather than surrender, for the fate of Cawnpore stared them in the face. “It adds point to this parallel to remember that the Tartar rulers of China are cousin german to the Great Moghul who headed the Sepoy Mutiny. “It was some excuse for the King of Delhi that he was seeking to regain his throne. No such apology can be offered for the Empress Dowager of China. She has made war not without provocation, but wholly unjustifiable, on all nations of the civilized world.”— W. A. P. Martin, The Siege in Peking (1900)THIS ESSAY REVIEWS THE LITERARY PRODUCTION — primarily adventure novels, and several of them bestsellers — centered around the events of the 1900 Boxer Rebellion, in which a Chinese “secret society,” with the collusion of certain Manchu authorities, carried out a systematic attempt to annihilate all Westerners and “native Christians” living in China.1 The Boxers, so-called because their “superstitious” practices looked like magic boxing, swept across North China from the spring of 1900, eventually throwing much of the imperial capital of Peking (Beijing) into confusion.2 Forced to hole up in the Legations and other barricaded areas, the Westerners of the region joined forces under largely British leadership and fought against incredible odds to protect themselves, holding out until an international resistance force, led by the British, rescued them fifty-five days later, and the Rebellion subsided.3 Important as a turning point in Chinese international relations and as a mark of the increasing weakness of the central authority of the Middle Kingdom, the Boxer Rebellion served an even more important function with regard to British conceptualizations of the empire in its formal and informal forms. It threw into question non-interventionist trade strategies and underscored the tenuous nature of imperial authority both in formal colonies such as India (where fledgling nationalist movements were evolving) and in areas bordering on these formal colonies and largely dominated through foreign authority. (The central Chinese government, for instance, though not dependent on imports and loans to any great degree, at this point gathered all of its significant income from the British-led Imperial Maritime Customs Service.)

Abstract In 19th century, the concept of “cholera”, which had been connected with Chinese cosmology for thousands of years, was firstly accepted by modern science through a process of conceptual discontinuity and reconstruction. As the result of adding new scientific knowledge to the old traditional connotations, the “collective” and “inevitable” nature of Cholera, once synonymous with “epidemic”, developed new characteristics and was thus accepted within the structure and parlance of modern science. This transformation is the reason why the new “Cholera” gradually separated itself from the traditional cosmology and eventually constructed a connection with modern science. The turning point which distinguished the traditional approach to the scientific one can be traced back to the imperialist modernity in 19th century. This “birth” of medical science not only changed China, but also the countries that shared the same medical philosophy, spatial orientation, national customs, and group culture through the pre-modern Chinese cultural circle. In view of the above premises, this article takes the work An Epitome of the Reports of the Medical Officers to the Chinese Imperial Maritime Customs Service, from 1871 to 1882 as basic research material and Japan as an example, to explore the conceptual discontinuity and reconstruction of the concept of “Cholera” in the middle of 19th century.

How to recruit, test, and train the intelligent recommendation system users, and how to assign the archive translation tasks to all intelligent recommendation system users according to the intelligent matching principles are still a problem that needs to be solved. With the help of proper names and terms in China’s Imperial Maritime Customs archives, this manuscript aims to solve the problem. When the corresponding translation, domain or attributes of a proper name or term is known, it will be easier for some archive translation tasks to be completed, and the adaptive archive intelligent recommendation system will also improve the efficiency of intelligent recommendation quality of archive translation tasks. These related domains or attributes are different labels of these archives. To put it simply, multi-label classification means that the same instance can have multiple labels or be labelled into multiple categories, which is called multi-label classification. With the multi-label classification, archives can be classified into different categories, such as the trade archives, preventive archives, personnel archives, etc. The system users are divided into different professional domains by some tests, for instance, system users who are good at economic knowledge and users who have higher language skills. With these labels, the intelligent recommendation system can make the intelligent match between the archives and system users, so as to improve the efficiency and quality of intelligent archive translation tasks. In this manuscript, through multi-label classification, the intelligent recommendation system can realize the intelligent allocation of archive translation tasks to the system users. The intelligent allocation is realized through the construction of intelligent control model, and verifies that the intelligent recommendation system can improve the performance of task allocation over time without the participation of task issuers.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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