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1
Zhao, Xiaohuan. "Love, Lust, and Loss in the Daoist Nunnery as Presented in Yuan Drama." T’oung pao 100, no. 1-3 (November 24, 2014): 80–119. http://dx.doi.org/10.1163/15685322-10013p03.
Повний текст джерелаАнотація:
Most studies of either Daoist influences and features or love and romance in Yuan drama concentrate on the male-dominated theme of deliverance (dutuo) or center on the “scholar-beauty” or “scholar-courtesan” romantic relationship, with little attention given to Daoist women involved in love affairs or marriage arrangements. This article aims to bring to light life and love in the Daoist nunnery as featured in Yuan drama, by focusing on transgressive Daoist nuns longing for secular life and sensual love and on lay women whose marriages are arranged by Daoist nuns. Four zaju plays have been selected for textual and thematic analysis, namely, Yuanyang bei (The Mandarin-Duck Quilt), Wangjiang ting (The River-viewing Pavilion), Nüzhen guan (The Cloister of Female Daoists), and Zhuwu ting qin (Listening to the Zither from a Bamboo-Thicketed Cottage). La majorité des études consacrées, suivant les cas, aux influences et aux éléments taoïstes ou aux intrigues romantiques dans le théâtre Yuan, se concentrent soit sur le thème masculin de la délivrance (dutuo), soit sur les idylles entre “lettrés et beautés” ou “lettrés et courtisanes”. En revanche on s’est peu intéressé aux exemples de femmes taoïstes impliquées dans des relations amoureuses ou dans des négociations matrimoniales. Cet article cherche à mettre en évidence la vie et l’amour dans les couvents taoïstes tels que les donne à voir le théâtre Yuan en évoquant des nonnes poussées à transgresser les règles par leur désir de vie laïque et d’amour sensuel et des femmes laïques dont le mariage est arrangé par des nonnes. Quatre pièces de zaju ont été choisies pour une analyse textuelle et thématique : Yuanyuan bei (La couverture aux canards mandarins), Wangjiang ting (Le pavillon donnant sur le fleuve), Nüzhen guan (Le couvent taoïste) et Zhuwu ting qin (Écouter la cithare dans la chaumière).
2
Shigu, Liu. "Ressources naturelles, droits de propriété et gouvernance. Mesures d’imposition sur la pêche et la société aquacole de la région du lac Poyang 鄱陽 au cours des dynasties des Ming (1368-1644) et des Qing (1644-1911)". Cahiers d'Extrême-Asie 31, № 1 (2022): 219–49. http://dx.doi.org/10.3406/asie.2022.1595.
Повний текст джерелаАнотація:
Les documents concernant les pêcheurs du lac Poyang 鄱陽湖, dans la province du Jiangxi 江西 , constituent de précieux matériaux pour reconstituer l’histoire de ces communautés. Les archives proviennent principalement de quatre familles de pêcheurs : les Yuan 袁 et les Wang 王 de Kangshan 康山, dans le district de Yugan 餘干 ; les Cao 曹 de Xiyuan 西源 et les Zou 鄒 de Beishan 北山, dans le district de Duchang 都昌. Ces textes représentent au total plus de 1500 pages. Outre les contrats de négoce des lieux portuaires et des étendues herbeuses, ainsi que des conventions et accords concernant la règlementation des pratiques sur les sites de pêche, ces documents contiennent aussi des livres de recension des impôts de la pêche et un nombre important d’attestations d’impôts. On trouve également beaucoup d’écrits concernant des litiges. Tous ces textes renseignent sur l’histoire des rapports continus entre les différentes communautés de pêcheurs quant aux questions portant sur « l’acquisition, la conservation et la transmission des droits de propriété aquatiques et sur les étendues herbeuses » de la fin des Ming au début de la République (1911-1949).
3
Wang, Yusu. "On the Implication of Spirituality Theory in Yuan Mei’s Poems." BCP Education & Psychology 10 (August 16, 2023): 340–45. http://dx.doi.org/10.54691/bcpep.v10i.5404.
Повний текст джерелаАнотація:
As a representative poet and essayist in the Qianjia period of the Qing Dynasty, Yuan Mei who styled himself Zicai with Jianzhai as his courtesy name was a scholar at the beginning and had a good reputation in his official career. However, he resigned and lived in seclusion in the 14th year of the Qianlong period after witnessing some challenges. Advocating the “spirituality” (Spirituality theory is an idea of poetry inditement and comment in ancient Chinese poetics, which is advocated most strongly by Yuan Mei in Qing Dynasty. It is one of the four major schools of poetry theory in the early Qing Dynasty, together with verve theory, style theory, and texture theory) of poetry inditement, Yuan Mei paid attention to expressing the author’s true emotion and personality. “Spirituality” put forward by him attacked the popular retro-ism and formalism in poetry at that time, which was of progressive significance, although it had limitations due to its overemphasis on subjective emotion. This paper will analyze Yuan Mei’s spirituality theory from the image and emotion of Yuan Mei’s poetry inditement.
4
Yap, C. T., and Younan Hua. "Principal Component Analysis of Chinese Porcelains from the Five Dynasties to the Qing Dynasty." Zeitschrift für Naturforschung A 47, no. 10 (October 1, 1992): 1029–33. http://dx.doi.org/10.1515/zna-1992-1004.
Повний текст джерелаАнотація:
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.
5
Yuan, Chuanchuan, and Mu Jiang. "Migration and Land Exploitation from Yuan to Qing Dynasties: Insights from 252 Traditional Villages in Hunan, China." Sustainability 15, no. 2 (January 5, 2023): 1001. http://dx.doi.org/10.3390/su15021001.
Повний текст джерелаАнотація:
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.
6
Polit, Jakub. "Pożegnanie z łotrem? Yuan Shikai w świetle nowych badań." Prace Historyczne 147, no. 3 (2020): 505–27. http://dx.doi.org/10.4467/20844069ph.20.028.12482.
Повний текст джерелаАнотація:
Parting with a villain? Yuan Shikai in light of new research Yuan Shikai, the military strongman of late Qing Empire, talented administrator and reformer, crucial figure during the 1911 (Xinhai) Republican Revolution, president with dictatorial power and, finally, a self-proclaimed emperor, is the most controversial figure of 20th-century China. After his death during the civil war that his actions provoked, historiography (communist and non-communist) portrayed Yuan as traitor and chief villain. In following years Yuan was almost unanimously denounced by Soviet (S.L. Tikhvinsky, O. Nepomnin) and Western (L. Sharman, E. Hummel) historiography. His first biography, written by Jerome Ch’en in 1960, fully upheld this portrait. Significant studies (1968 and 1977) of Ernest P. Young, based on important primary sources, went unnoticed at the time. It was also the case with Stephen McKinnon’s volume on Yuan as brilliant Qing official in Tianjin and Beijing between 1901 and 1908. During the two last decades of the 20th century some smaller studies changed this unfavorable portrait. In the eyes of Marie-Claire Bergère, Madleine Ch’i, Luke Kwong and Henerietta Harrison, Yuan appears as a far-sighted statesman and defender of Chinese raison d’état. The last biography written by Patrick Fuliang Shan portrays Yuan as an extremely power-hungry and astute politician and as a conservative reformer and modernizer, at the same time. His political failure was both his personal tragedy and a catastrophe of the Chinese nation.
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Nyanchen, Zhen. "THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 134–44. http://dx.doi.org/10.36340//2071-6818-2020-16-3-134-144.
Повний текст джерелаАнотація:
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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Xing, Siyuan. "The Lexicalization of “Bao Buzhu”and Motivation of Evolution." BCP Education & Psychology 4 (May 31, 2022): 321–31. http://dx.doi.org/10.54691/bcpep.v4i.867.
Повний текст джерелаАнотація:
The first appearance of “Bao Buzhu” was at the end of Yuan Dynasty and the beginning of Ming Dynasty, “Bao Buzhu”, as a verb phrase, acted as predicate element in a sentence. At Qing Dynasty, “Bao Buzhu” still be a verb phrase, at this moment, “Bao Buzhu” [+hope] semanteme disappeared; The next evolution of “Bao Buzhu” was from verb phrase to an adverb, when Qing Dynasty ended and the Republic of China began, this usage became popular, and it means speculation. From Yuan Dynasty to now, because of the usage of verb phrase become popular, “Bao Buzhu” had become a verb right now. We think the evolve reason of “Bao Buzhu” is the change of syntactic structure, frequency of utilization, reanalyze, semantic grammaticalization and the effect of language environment.
9
Lam, Tong. "Policing the Imperial Nation: Sovereignty, International Law, and the Civilizing Mission in Late Qing China." Comparative Studies in Society and History 52, no. 4 (October 2010): 881–908. http://dx.doi.org/10.1017/s0010417510000496.
Повний текст джерелаАнотація:
On 15 August 1902, a battalion of Chinese police officers under the command of Superintendent Zhao Bingjun marched into city center of Tianjin and toward the Yamen Complex, the ceremonial site where the Eight Power Alliance was handing back the city to Governor General Yuan Shikai after two years of occupation following the Boxer Uprising. As they approached the complex, allied officials and commanders, standing with Yuan Shikai and his entourage under a “Friendship Forever” banner, were shocked and dismayed. As one of the preconditions for its resumption of the control of the city, the Qing government had agreed to the allied demand that its troops would not enter the vicinity of Tianjin, and some allied officials had even thought that Yuan would be compelled to beg the allied forces to stay and continue to maintain law and order. Yuan Shikai's sudden show of forces was a slap in their faces and potentially a violation of an international agreement. “What is the meaning of this?” asked an allied representative with raised voice. “Look carefully. These are not troops,” Yuan replied with a smirk, “They are policemen.” Not knowing what to do, allied officials pointed fingers at each other, blaming the stupidity of those who had designed the agreement. “It is not we who are stupid,” one said, “It is Yuan Shikai who is so cunning.”
10
Wang, Yanning. "Fashioning Voices of Their Own: Three Ming-Qing Women Writers’ Uses of Qu Yuan’s Persona and Poetry." Nan Nü 16, no. 1 (September 10, 2014): 59–90. http://dx.doi.org/10.1163/15685268-00161p03.
Повний текст джерелаАнотація:
This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.
11
Schäfer, Dagmar, Shih-pei Chen, and Qun Che. "What is Local Knowledge? Digital Humanities and Yuan Dynasty Disasters in Imperial China's Local Gazetteers." Journal of Chinese History 4, no. 2 (July 2020): 391–429. http://dx.doi.org/10.1017/jch.2020.31.
Повний текст джерелаАнотація:
AbstractThis paper focuses on the historical politics of disaster records in Chinese local gazetteers (difangzhi 地方志). Using records of mulberry crop failures as examples, the authors ask how gazetteer editors collated Yuan disaster records—initially collected to help prevent disasters and authorize the legitimacy of dynastic rule—in gazetteers and, in so doing, made them into ‘local’ knowledge. Digital humanities methods allow for both qualitative and quantitative analyses, and the authors deploy them to demonstrate how, in structured texts like the Chinese local gazetteers, they could help combine close reading of specific sections and larger-scale analysis of regional patterns. In the first part, the authors show how disasters were recorded in a Yuan Zhenjiang gazetteer to facilitate taxation and disaster prevention locally—a strategy rarely traceable in subsequent gazetteers until the Qing. In the second part, the authors shifted their perspective to the historical accumulation of data and what that reveals about the reception of Yuan disasters: whereas local gazetteers from the north generate long chronologies of mulberry disasters from the Ming to the Qing, others depict the south as disaster-free.
12
Król, Anna. "Bamboo Paintings of the Yuan, Ming and Qing Dynasties." Roczniki Humanistyczne 63, no. 9 (2015): 75–96. http://dx.doi.org/10.18290/rh.2015.63.9-6.
Повний текст джерела
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Song, Hui, Qingwen Meng, and Chenyang Wang. "Spatial Distribution Characteristics and the Evolution of Buddhist Monasteries in Xi’an City Area." Religions 14, no. 9 (August 22, 2023): 1084. http://dx.doi.org/10.3390/rel14091084.
Повний текст джерелаАнотація:
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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Yu, Anhuai. "Lao Tzu." Songings 1, no. 1 (September 30, 2021): 10. http://dx.doi.org/10.24015/ebc.songings.2021.0005.
Повний текст джерелаАнотація:
Ancient China was a great country with tremendous philosophers, many their works are full of Chinese wisdom which last thousands of years, and still benefit people globally. Lao Tzu and his Tao Te Ching is a good example. It is priceless even tuned in the Ci title Qing Yuan Chun.
15
Wang, Dong. "Kangxi's Governance Strategy for the Mongolian Region from Kangxi Qi Ju Zhu." Korean Association for Mongolian Studies 73 (June 30, 2023): 213–36. http://dx.doi.org/10.17292/kams.2023.73.213.
Повний текст джерелаАнотація:
When discussing Kangxi’s policy of governance in Mongolia, people mostly select Qing Shi Lu,Qin Ding Da Qing Hui Dian, Li Fan Yuan Ze Li and other historical materials, and pay little attention to Kang Xi Qi Ju Zhu, but its historical value cannot be ignored.Especially in the implementation of the Qing Dynasty system, such as the reward of Mongolian princes and the handling of penalty cases in the Mongolian region, which is rarely mentioned in other historical materials, it has great significance for studying the Qing Dynasty’s border policies, Manchu Mongolian relations, and the Qing Dynasty’s Mongolian social system. This article starts with the historical materials of the Mongolian region in the Kangxi Qi Ju Zhu,and explores the ruling measures, containment policies, and management measures of the Kangxi period towards the Mongolian region. Emperor Kangxi’s grace and authority were implemented simultaneously, which not only consolidated the rule, promoted the development of agriculture, animal husbandry, and animal husbandry in the Mongolian region, but also strengthened exchanges with the Mongolian region, promoting ethnic integration.
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Kim, Doo-Hyun. ""Man-wen yuan-dang" and the History of Early Qing." Journal of Ming-Qing Historical Studies 30 (October 31, 2008): 259–86. http://dx.doi.org/10.31329/jmhs.2008.10.30.259.
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Chen, Andrea. "Silk Road Influences on the Art of Seals: A Study of the Song Yuan Huaya." Humanities 7, no. 3 (August 15, 2018): 83. http://dx.doi.org/10.3390/h7030083.
Повний текст джерелаАнотація:
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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Ziyu, Lju. "述补结构与处置式发展关系初探". Cahiers de Linguistique Asie Orientale 36, № 2 (2007): 187–218. http://dx.doi.org/10.1163/19606028-90000170.
Повний текст джерелаАнотація:
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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KAPUSUZOĞLU, Gökçen. "Hunlardan Kalan Kültürel Miras: Çin Kaynaklarında “Batur” Unvanı." Bilig, no. 105 (April 27, 2023): 39–54. http://dx.doi.org/10.12995/bilig.10502.
Повний текст джерелаАнотація:
Türk tarihinin erken dönemlerinin aydınlatılması için kullanılan temel kaynaklardan Çin kaynakları, pek çok farklı dönemin önemli olaylarını ve kişilerini özenle kayıt altına almıştır. Hunlar dönemi ile Qing Hanedanı dönemi arasında geçen yüzlerce yıllık zaman dilimi de aynı tutumla kayda geçirilmiştir. Hun Tanrıkut’u Mo-du’ya Türkçe karşılık olarak önerilen Bahadır/Batur adı Çince kaynaklarda çok farklı şekillerde yazılmış ve farklı dönemlerde kullanımı devam etmiştir. Özellikle Yuan Hanedanı ve Qing Hanedanı dönemlerinde yaygın olarak kullanıldığı kaynaklarda görülmektedir. Çalışmada bu adın/unvanın farklı yazılış biçimleri kaynaklara göre tasnif edilmiş ve kayıtlardan örnekler verilerek sözcüğün kullanılış amacı ve biçimi gösterilmiştir.
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Li, Mengjun. "‘Carving the Complete Edition’: Self-commentary, Poetry, and Illustration in the Early-Qing Erotic Novel Romance of an Embroidered Screen (1670)." East Asian Publishing and Society 7, no. 1 (April 20, 2017): 30–73. http://dx.doi.org/10.1163/22106286-12341303.
Повний текст джерелаАнотація:
Scholars of late imperial Chinese fiction have demonstrated that Ming ‘literati novels’ possessed both intellectual sophistication and aesthetic seriousness. Nonetheless, the large corpus of mid-length fictional narratives of the Qing remains mired in problematic assumptions about its ostensibly popular nature. The self-commentaried edition ofEmbroidered screen(Xiuping yuan) presents a salient example for reassessing the nature of Qing novels and the reading of fiction in the seventeenth century. First circulated in manuscript copies, extensive auto-commentary was added when the novel was committed to print. The commented edition incorporates different genres—poetry, examination essay, and anecdotal accounts—as well as visual elements, all intended to appeal to elite literati tastes among Qing readers. Its literary, visual, and formal heteroglossia also contributed to its popularity in eighteenth-century Japan, which in turn secured its preservation and eventual modern rediscovery, even while it fell into obscurity in Qing China, most likely due to political censorship.
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Tian, Tian. "The historical evolution and characteristics of ancient pipa playing postures." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 110–15. http://dx.doi.org/10.31166/voprosyistorii202308statyi42.
Повний текст джерелаАнотація:
Pipa is one of the most popular musical instruments in ancient China. This article first analyzes the historical development of the pipa, including its origins, evolutionary process and types. This is followed by an in-depth analysis of pipa playing postures in the Han and Tang dynasties, Song and Yuan dynasties, and Ming and Qing dynasties.
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Xiao, Ran. "Analysis of the Layout Axis of Jinci in Taiyuan, Shanxi Province." Advanced Materials Research 1065-1069 (December 2014): 2601–4. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2601.
Повний текст джерелаАнотація:
The ancient building group of Jinci gathers different architectures in the dynasty of Song, Jin, Yuan, Ming, Qing , which is deserved to be recognized as the national treasure and living ancient architecture archives including more eras. Based on the location, layout, axis of the building arrangement, this essay expounds the layout features and analyses the ancients’ grasp of axis in Jinci.
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Kirby, William C. "China Unincorporated: Company Law and Business Enterprise in Twentieth-Century China." Journal of Asian Studies 54, no. 1 (February 1995): 43–63. http://dx.doi.org/10.2307/2058950.
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On April 22, 1903, the qing court ordered zai-zhen, a Manchu prince; Yuan Shikai, the most powerful Chinese Governor-General of the realm; and Dr. Wu Tingfang, the former Chinese minister to the United States, to compile a commercial code. The edict charging them with this responsibility noted that “of the many government functions, the most important is to facilitate commerce and help industries” (Li 1974a:210). On January 21, 1904, the newly created Ministry of Commerce (Shangbu) issued China's first Company Law (Gongsilü)The Company Law was the first modern law drafted by the Imperial Law Codification Commission, whose work was part of the Qing government's reformist “new policies” in the wake of China's recent humiliations at the hands of Japan and the Western powers. In giving highest priority to enacting a law governing the organization of commercial companies, the Qing government had several interlocking objectives.
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Huang, Chenxi, and Siyu Chen. "The Northern Stronghold Sacrifice and the Political Legitimacy of Ethnic Minority Regimes in the Late Imperial China." Religions 13, no. 4 (April 15, 2022): 368. http://dx.doi.org/10.3390/rel13040368.
Повний текст джерелаАнотація:
Traditional Chinese state sacrificial ritual represented a symbolic system of integrating religious belief, divine authority, and political legitimacy. The Northern Stronghold (Beizhen 北鎮, i.e., Mount Yiwulü 醫巫閭山) was equal in status to the other four strongholds, which, moreover, served as a strategic military fortress and represented the earth virtue in the early state sacrifice system. In the late imperial era of China, and during the Yuan (1279–1368) and Qing (1644–1911) dynasties in particular, the Northern Stronghold swiftly achieved prominence and eventually became an instrument used by minority ethnic groups, namely the Mongolians and Manchus, when elaborating upon the legitimacy of their political regimes. During the Yuan dynasty, the mountain spirits of the five strongholds (Wuzhen 五鎮) were formally invested as kings and, as a result, were accorded equivalent sacrifices in comparison to those given to the five sacred peaks (Wuyue 五嶽). Given that the Northern Stronghold was located near the northeast of Beijing, the Yuan government considered it the foundation of the state. Thereafter, the Northern Stronghold was regarded as the most important of the five stronghold mountains. In the Ming dynasty (1368–1644), the Northern Stronghold Temple (Beizhenmiao 北鎮廟) was reconstructed as both a military fortress and religious site, while its representation as a significant site for a foreign conquest dynasty diminished and its significance as a bastion of anti-insurgent suppression emerged. By the Qing dynasty, the Northern Stronghold was regarded as an integral component of the geographic origin of the Manchu people and thereby assumed once again a position of substantial political significance. Several Qing emperors visited the Northern Stronghold and left poems and prose written in graceful Chinese to present their high respect and their mastery of Chinese culture. The history of the Northern Stronghold demonstrates how the ethnic minority regimes successfully utilized the traditional Chinese state sacrificial ritual to serve their political purpose.
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Dubrovskaya, Dinara V. "А Message from the Imperial Court to the European Reader as Written by the Painter Wang Zhicheng (Jean-Denis Attiret; 1702–1768)". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, № 5 (2024): 156. https://doi.org/10.31696/s086919080032227-6.
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French painter Jean-Denis Attiret (1702–1768) lived and worked in Beijing from 1739 until his death among the small number of European artists working at the Manchu court of China during the heyday of the Qing Empire. Attiret (Wang Zhicheng) is rightfully considered the second figure in a close-knit group of masters who personified the Sino-European style, which introduced China to European art and after the destruction and looting of the Yuanming Yuan Palace in 1860 – Europe to the art of China. Being not only the “right hand” of famous Giuseppe Castiglione, but also a court artist of Qianlong in his own right, Attiret performed the most important tasks: He portrayed the Mongol princes pacified after the Western Campaign (1755) and created drawings for the “Engravings of the Conquest of the Western Region”, helped design the European Siyanglou Palace in Yuanming-Yuan. However, the French artist should also be considered the author of valuable historical evidence about culture, art, and even social structure of Qing China. The author of several letters to Europe, Attiret is primarily famous for one of them, more than 60 pages long, where he describes the journey through China along the Grand Canal, the life and customs of the court, and most importantly – buildings, landscapes, entertainment, eunuchs, concubines, life and customs of the Yuanming-yuan complex, where European craftsmen worked during the reign of Emperor Qianlong. In the letter, Attire reveals himself as an observant analyst, coming to important conclusions about the structure of imperial power.
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Yap, C. T., and Younan Hua. "Raw Materials for Making Jingdezhen Porcelain from the Five Dynasties to the Qing Dynasty." Applied Spectroscopy 46, no. 10 (October 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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Castilla, Manuel V. "Architectural Heritage Analysis of the Yuanying Guan Pavilion: Construction and Signification." Heritage 6, no. 3 (February 23, 2023): 2421–34. http://dx.doi.org/10.3390/heritage6030127.
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This paper aims to analyse the structural function and symbolic function of the historic building Yuan Guan during the inculturation process in the early Qing dynasty in China. This process was the dominant Western practice during the early Qing dynasty, when technology, design, aesthetics, and linear perspective were considered indispensable tools to express the nature of an architectural encounter between China and Europe. Given the artistic–cultural richness of this context, the masterwork Yuanying Guan complex can be examined from a spatial semiotic study in an original and unique way. Thus, semiotic tools were used to interpret the expression of the architectural space and to formulate a subsequent understanding of the architectural forms of this destroyed heritage, turning each element into a tool of communication.
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Jia, Dan, Yikai Li, and Xiuqi Fang. "Complexity of factors influencing the spatiotemporal distribution of archaeological settlements in northeast China over the past millennium." Quaternary Research 89, no. 2 (February 22, 2018): 413–24. http://dx.doi.org/10.1017/qua.2017.112.
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AbstractRelic archeological settlement is used to indicate the development of agriculture. We extracted 8865 relic archeological settlements from theAtlas of Chinese Cultural Relicsto analyze how the spatiotemporal distribution of archaeological settlements was influenced by temperature changes and social factors during the last millennium. During the Liao dynasty (AD 916–1125) and Jin dynasty (AD 1115–1234) in the Medieval Warm Period (MWP), a large number of settlements indicated the development of agriculture as far north as 47°N. The warm climate of the MWP provided sufficient heat resources to promote the implication of positive policies of the Liao and Jin dynasties to develop agriculture and settlements. By contrast, during the dynasties of Yuan (AD 1279–1368), Ming (AD 1368–1644), and Qing (AD 1644–1911) in the Little Ice Age (LIA), the number of settlements declined drastically, and the northern boundary of the settlement distribution retreated by 3–4 degrees of latitude to modern Liaoning Province. Although the southward retreat of the settlements and related agriculture occurred in the cold climate of the LIA, it could not be completely explained by the drop in temperature. Social factors including nomadic customs, ethnic policies, and postal road systems played more important roles to the northern boundaries of the settlement distributions during the Yuan, Ming, and Qing dynasties.
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D., Naran. "Бээжин дэх төрийн хөвгүүдийн сургууль болон Монголын түүхэнд холбогдох нэгэн чулуун хөшөөний бичээсийн тухай". Mongolian Journal of Foreign Languages and Culture 20, № 450 (2 березня 2023): 93–97. http://dx.doi.org/10.22353/mjflc.v20i450.2871.
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The Beijing Guozijian located at the Guozijian street in Beijing, China, was the imperial academy during the Yuan, Ming ,and Qing dynasties, and the last Guozijian of China. The Guozijian was first built in 1306 during the 24th year of Zhiyuan Reign of the Mongol Yuan Dynasty, and was reconstructed and renovated on a large scale during Yongle and Zhengtong reigns of the Ming Dynasty. This article focused on study of inscription on stele erected inside Imperial Academy (Gozijian. There were three Mongol graduates names scarfed in traditional Chinese characters, fortunately remained in well condiition from 13th century. In this article the author made attempt to restore their names in Mongolian, to determine who were these people,the time of erection of this stele monument.
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Li, Ruoxi. "Research on the Similarities between the Plot of Ji Chun Tai and Content of Sichuan Opera." Theory and Practice in Language Studies 8, no. 8 (August 1, 2018): 1064. http://dx.doi.org/10.17507/tpls.0808.21.
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Ji Chun Tai is the masterpiece of Sichuan dialect on late Qing Dynasty, composed of 40 vernacular short stories. It is divided into four parts, namely, Yuan Ji, Heng Ji, Li Ji, and Zhen Ji. Each part contains ten short stories. The author of Ji Chun Tai is a literator from Zhong Jiang who failed in imperial examination System in late Qing Dynasty. There are a large number of Sichuan Opera elements in those forty vernacular short stories. Generally speaking, the plot of Ji Chun Tai is full of ups and downs, together with relatively concentrated conflicts, which reflects the characteristics of Sichuan opera. Besides, the thought of persuasion and punishment, strong superstitious color, and detective story in Ji Chui Tai are combined together to reflect the characteristics of Sichuan Opera.
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Сүхбаатар, Баяндүүрэн. "Монгол хаадын ордны дуу хөгжмийн түүхэн тойм". Mongolian Journal of Anthropology, Archaeology and Ethnology 13, № 1 (2024): 125–32. https://doi.org/10.22353/mjaae.20241302012.
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Mongolian music is an integral aspect of all facets of Mongolian life, deeply woven into religious ceremonies, festivals, and everyday experiences. Through music, we gain a profound understanding of Mongolian culture, as it reveals not only the ways and styles of life but also the historical evolution of the Mongolian people. Music serves as a mirror to Mongolian traditions, cultural practices, and worldviews. Historical sources and research highlight the development of Mongolian music, particularly within the context of the Mongol Khan’s court. Over the centuries, Mongolian music has undergone numerous transformations, influenced by different political and cultural phases. This evolution can be explored through several key historical stages: the era of the Great Mongol Empire, the Yuan Dynasty, the Northern Yuan Empire, and the legacy of the Manchu Qing Empire.
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Сүхбаатар, Баяндүүрэн. "Монгол хаадын ордны дуу хөгжмийн түүхэн тойм". Mongolian Journal of Anthropology, Archaeology and Ethnology 13, № 2 (2024): 125–32. https://doi.org/10.22353/mjaae.2024130212.
Повний текст джерелаАнотація:
Mongolian music is an integral aspect of all facets of Mongolian life, deeply woven into religious ceremonies, festivals, and everyday experiences. Through music, we gain a profound understanding of Mongolian culture, as it reveals not only the ways and styles of life but also the historical evolution of the Mongolian people. Music serves as a mirror to Mongolian traditions, cultural practices, and worldviews. Historical sources and research highlight the development of Mongolian music, particularly within the context of the Mongol Khan’s court. Over the centuries, Mongolian music has undergone numerous transformations, influenced by different political and cultural phases. This evolution can be explored through several key historical stages: the era of the Great Mongol Empire, the Yuan Dynasty, the Northern Yuan Empire, and the legacy of the Manchu Qing Empire.
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Yan, Gui, Zhang Tianju, and Han Liebao. "The Study of Chui Wan, a Golf-like Game in the Song, Yuan, and Ming Dynasties of Ancient China." Journal of Sport History 39, no. 2 (July 1, 2012): 283–97. http://dx.doi.org/10.5406/jsporthistory.39.2.283.
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Abstract Chui wan was a game that was once very popular in the Song, Yuan, and Ming Dynasties of ancient China. It bore a strong resemblance to the game of golf. According to the records, chui wan originated from the ancient polo game in the Song Dynasty, and its development culminated in the Yuan Dynasty and Ming Dynasty but then it disappeared sometime in the Qing Dynasty. Wan Jing, the first monograph about chui wan in Chinese history, described the game in detail. This article introduces the history of chui wan and also the site choice, equipment, rules, strategies, and etiquette of the game as described in the book, Wan Jing. The authors hope it will help with future studies and research on the potential relations between chui wan and golf.
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Wang, Tongxin. "History of Chinese Classical Gardens." International Journal of Education and Humanities 4, no. 3 (September 27, 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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Epstein, Maram. "Engendering Order: Structure, Gender, and Meaning in the Qing Novel Jinghua yuan." Chinese Literature: Essays, Articles, Reviews (CLEAR) 18 (December 1996): 101. http://dx.doi.org/10.2307/495627.
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Jiang, Y., and Y. Wang. "Yuan Mei's Suiyuan shihua and the Transformation of Qing Dynasty Shihua Writing." Journal of Chinese Literature and Culture 1, no. 1-2 (January 1, 2014): 90–124. http://dx.doi.org/10.1215/23290048-2749371.
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Wang, Bin Tong. "An analysis of the relationship between Du Cha Yuan Ze Li and Qing Ding Tai Gui in Qing Dynasty." CHUNGGUKSA YONGU (The Journal of Chinese Historical Researches) 130 (February 28, 2021): 331–52. http://dx.doi.org/10.24161/chr.130.331.
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Yang, SuJeang. "The Relationship and Development of Joseon Embroidery and Lu-Embroidery of Shandon : Focusing on Embroidered Dwelling by a Mountain Stream at the National Museum of Korea." Korean Journal of Art History 315 (September 30, 2022): 75–117. http://dx.doi.org/10.31065/kjah.315.202209.003.
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This study aims to fill the gaps in the history of Korean embroidery by examining Luembroidery of Shandong, an area closely related to the Korean peninsula in history, geography, culture, and custom. Unlike Gu-embroidery of Jiangnan that gained renown in the late Ming dynasty, Lu-embroidery’s relations to Korea could be found from the ancient times, through medieval Yuan to the Qing period, and therefore has significance as historical documents. Needlework in Lu-embroidery style, made or brought to Korea in the late Joseon period represent the literary preferences of the ruling class at the time and also hold diverse information on localized embroidery in Joseon, including Ahn Joo-embroidery, closely associated with Shandong.</br>Kkonsa existed since the ancient times, but was eclipsed in popularity by p’unsa, used in painted embroidery in medieval period in East Asia. It regained dominance again during the Yuan dynasty. In the late Yuan period, Lu-embroidery reached another golden age as Shandong Lu-embroidery employed kkonsa, a type of twisted embroidery thread rather than p’unsa, a type of silk thread, and as new techniques of more diversity and refinedness were developed. Shandong Lu-embroidery is also called uiseonsu, meaning embroidery for clothes, as kkonsa was widely used as being suitable for more sturdy costumes. In Nopakchiplam, it is recorded that new types of embroidery threads were used in Joseon as well. Conclusively, this study compared the Lu embroidery style works at the National Museum of Korea and the works of Ming-Qing period, and examined how kkonsa were used in Joseon. The iconography and style of embroidered Lotus Pond and Waterfowl and narrative figure paintings, and the use of Joseon royal style two-strands Jeonggumsa, royal embroidery, folk embroidery and Ahn Joo-embroidery were all considered for more comprehensive understanding.
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Maoting, Cao, and Boon Dar Ku. "CRAFTING STABILITY IN SICHUAN: MIGRATION STRATEGIES AND REGIONAL GOVERNANCE UNDER HONGWU (1368-1398) AND KANGXI (1661-1722)." SEJARAH 33, no. 2 (December 31, 2024): ———. https://doi.org/10.22452/sejarah.vol33no2.1.
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This study explores the divergent migration policies of the Ming and Qing dynasties in Sichuan, a region grappling with severe population decline and land barrenness during the late Yuan and early Ming periods, as well as the late Ming and early Qing eras. The study compares the contrasting approaches of the Ming Dynasty under Hongwu and the Qing Dynasty under Kangxi, focusing on their strategies for managing population relocation and land reclamation. Under Hongwu, the Ming Dynasty adopted a strict and punitive approach to migration. The “Zhongdian Zhiguo” (strict governance) and the “Weisuo Zhidu” (guardhouse system) were implemented to relocate criminals and military personnel to Sichuan. These measures aimed to enforce order and control, reflecting Hongwu’s broader strategy of maintaining authority through coercion and rigorous oversight. In contrast, the Qing Dynasty under Kangxi favoured a more supportive and incentivising approach. The 1690 “Regulations on Naturalisation in Sichuan” offered land reclamation incentives to homeless individuals, promoting voluntary migration and integration. This policy sought to stabilise and develop Sichuan by encouraging settlement and land cultivation through positive reinforcement rather than punitive measures. The research provides a comparative analysis of these strategies, illustrating how the Ming Dynasty’s focus under Hongwu on control and punishment differed from the Qing Dynasty’s emphasis under Kangxi on support and incentives. This examination reveals the impact of differing governance ideologies on regional development and offers insights into the evolution of migration policies and their effects on Sichuan’s long-term stability and growth.
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Wan, Yao, and Thawascha Dechsubha. "A Survey of Traditional Chinese Drinking Games." Technium Social Sciences Journal 31 (May 9, 2022): 728–41. http://dx.doi.org/10.47577/tssj.v31i1.6274.
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China has a long history of wine-brewing. Traditional Chinese drinking games are a unique and mysterious part of the Chinese drinking culture. In this paper, we deal with the development of Chinese wine first, and then we take big events as reference to uncover the history of the traditional Chinese drinking games chronologically. After introducing the representative drinking games from each dynasty, it could help people understand the general development of the traditional Chinese drinking games. The results show: (1) the Chinese wine-brewing origins from the saccharomycetes, matures in Tang and Song Dynasties, and popularizes in Yuan, Ming, and Qing Dynasties. (2) The first traditional Chinese drinking game is pitch-pot, and it emerges in the later of Spring and Autumn Period. Its system grows mature in the Tang Dynasty. The Qing Dynasty is a united period for the collection of traditional Chinese drinking games.
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Zhang, Xin Ke. "Innovative Application of Chinese Traditional Modeling Elements to Design of Modern Home Textile Products." Advanced Materials Research 308-310 (August 2011): 419–23. http://dx.doi.org/10.4028/www.scientific.net/amr.308-310.419.
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Based on the styling elements of Chinese imperial costume，the characteristics and cultural connotation of blue and white porcelain in the dynasty of Yuan, Ming and Qing and auspicious patterns among the people as well as the traditional paper-cutting art. The paper analyzes the traditional colors and graphic elements by the decomposed and reconstructed of modern graphic designing method, expounds and demonstrates the innovative application of traditional colors and graphic elements in modern home textile design, and then further realizes the Chinese artistic style of home textile design.
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Lee, Y. Jim. "As Others See Us: Impressions of a Five-Member Technical Mission from the People's Republic of China on the Canadian Forest Inventory and Management Systems." Forestry Chronicle 61, no. 6 (December 1, 1985): 513–18. http://dx.doi.org/10.5558/tfc61513-6.
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A five-member Forest Inventory and Management Technical Mission from the Ministry of Forestry, People's Republic of China (PRC) visited Canada, from July 29 to August 19, 1984. This visit was sponsored by the Canadian Forestry Service (CFS) under the Memorandum of Understanding between Environment Canada and the Ministry of Forestry, PRC.The Chinese technical mission consisted of Mr. Zhou Chang-xiang, mission leader and Director of Forest Inventory and Planning Branch, Ministry of Forestry, PRC; Mr. Yuan Yun-chang, Forest Resource Management Branch, Ministry of Forestry, PRC; Mr. Zhao Qing-he, Director of Forest Inventory and Planning Institute, Jilin Province; Mr. Liu Hai-ru, Forest Survey and Design Institute, Sichuan Province; and Mr. Yuan Hai-ying, interpreter, Department of Foreign Affairs, Ministry of Forestry (Fig. 1).The following is a translation of their report to the Ministry of Forestry, PRC, by Dr. Lee who developed the itinerary and accompanied the visitors as tour coordinator and advisor.
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Turobiddinovna Komilova, Shaxnoza. "The Development of Drama as a Genre in Chinese Literature." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (April 3, 2021): 99. http://dx.doi.org/10.18415/ijmmu.v8i4.2565.
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The article discusses the emergence and development factors of the drama genre in Chinese literature. There is also information about the genre of drama and its development in Uzbek and world literature. In Chinese literature, the first drama genres in the development of the drama genre were called "siven" (戏文) or "nansiven" (南戏). During the Yuan Dynasty in the 13th and 14th centuries, a genre based on strict law, zaju (杂剧), flourished. In the XIII-XIV centuries, playwrights Guan Han Qing (关汉卿), Wang Shi Fu (王实甫), Bai Pu (白朴), Ma Zhi Yuan (马致远) played a role in the development of the above-mentioned dramatic genres. By the seventeenth and eighteenth centuries, the Chuanzi genre had emerged in dramaturgy. This article also discusses in detail the creative work of playwrights such as writers Li Yu, Hong Shen, Kun Shan Jen in the development of this genre.
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Dong, Xinlin. "The Shangjing norm of the Liao dynasty and the Dongjing mode of the Northern Song dynasty." Chinese Archaeology 20, no. 1 (November 25, 2020): 179–92. http://dx.doi.org/10.1515/char-2020-0017.
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AbstractAfter the downfall of the Tang dynasty, the Khitan-Liao empire, the Five Dynasties, and Northern Song dynasty formed the second “northern and southern dynasties” confrontation in the history of China. Also in this period, two systems appeared in the capital city planning: the “Shangjing norm” of the Liao dynasty characterized by the 日-shaped plan view and the “Dongjing mode” of the Northern Song dynasty characterized by the 回-shaped plan view. The “Shangjing norm” is the materialization of the political system of “ruling by the customs of the peoples being ruled” applied by the nomadic rulers from the northern steppes when they were managing the empire with the Han people as the majority. This seemingly reflected the ethnic discrimination of the nomadic ruling class at the beginning of the establishment of their empire. The capital designing ideas of the Jin, Yuan, and Qing dynasties were all following this norm at the beginnings of their rules. “Dongjing mode” of the Northern Song dynasty is the materialization of the “imperial sovereignty” idea emphasized by the empires founded by the Han rulers, which seems reflecting the bureaucrat system with the centralization as the characteristics. The designs of the Liao Zhongjing (Central Capital) and the Jin Zhongdu were both simulations of that of Dongjing, which showed the trends of ethnic convergence and unification. Moreover, Dadu of the Yuan dynasty and Beijing of the Ming and Qing dynasties were the symbols of the formation of the unified multiethnic empire of China.
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Wang, Ying. "The Supernatural as the Author's Sphere: Jinghua Yuan's Reprise of the Rhetorical Strategies of Honglou Meng." T'oung Pao 92, no. 1 (2006): 129–61. http://dx.doi.org/10.1163/156853206778553234.
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AbstractThis study investigates the similarities between Li Ruzhen's nineteenth-century novel Jinghua yuan and Cao Xueqin's eighteenth-century masterpiece Honglou meng in terms of their artistic experimentation, by its focus on Li's appropriation of Cao's rhetorical strategies. It places the two novels in the context of vernacular literature in the mid- and late Qing period and attributes the disappearance of the "pseudo-oral" narrator in both novels to the dramatization of the narration and the establishment of a supernatural realm as the sphere of the author. The rhetorical strategies employed in Honglou meng, and subsequently evoked in Jinghua yuan, are not, as this study intends to show, the sporadic engagements of the supernatural seen in earlier novels. Instead, they are sophisticated mechanisms at work in both the model and its imitation. In comparing the similarities of rhetoric in these two novels, this essay emphasizes Li Ruzhen's artistic creativity by highlighting his critical responses to Honglou meng and his ingenuity in re-using Cao Xueqin's techniques. Cette étude examine les similitudes entre deux romans, le Jinghua yuan composé au 19e siècle par Li Ruzhen et le chef-d'œuvre de Cao Xueqin, le Honglou meng, qui date du siècle précédent, concernant leurs aspects expérimentaux dans le domaine artistique; pour ce faire elle se concentre sur la façon dont Li Ruzhen s'est approprié les stratégies rhétoriques de Cao Xueqin. L'article replace les deux romans dans le contexte de la littérature vernaculaire d'au milieu et de la fin des Qing, et attribue la disparition du narrateur "pseudo-oral" dans les deux œuvres à la dramatisation de la narration et à l'instauration d'un domaine surnaturel constituant la sphère de l'auteur. Comme entend le montrer cet essai, les stratégies rhétoriques employées dans le Honglou meng et reprises plus tard dans le Jinghua yuan ne se limitent pas à des interventions sporadiques du surnaturel comme dans les romans plus anciens. On a au contraire affaire à des mécanismes sophistiqués mis en œuvre tant dans le modèle que dans son imitation. La comparaison des similitudes rhétoriques dans les deux romans permet de mettre l'accent sur la créativité artistique de Li Ruzhen en mettant en lumière sa réponse critique au Honglou meng et l'ingéniosité avec laquelle il reprend à son compte les techniques de Cao Xueqin.
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Edwards, Louise. "Women Warriors and Amazons of the mid Qing Texts Jinghua yuan and Honglou meng." Modern Asian Studies 29, no. 2 (May 1995): 225–55. http://dx.doi.org/10.1017/s0026749x00012713.
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Many cultures include in their narrative discourse tales of women who have gone to war or joined the hunt and indeed Chinese culture has produced a plethora of tales which relate the deeds of such strong and exceptional women. The general opinion from Western academics about these women is that they are rebelling against restraints imposed upon their sex by patriarchal society and ‘under the guise of patriotism or wifely devotion [find] an understandable motive for rejecting hearth and home.’ That patriarchal discourse should perpetuate through history and literature a subversive mode of thinsimply because it was duped by the invocations of patriotism an loyalty appears less than convincing. Certainly, if these are the woman warrior's motives then they have been exceptionally well disguised by the literary redactions of the deeds of the women warriors in Chinese culture. It is the intention of this article to explicate the complexity of the woman warrior in Chinese culture and reveal the multiplicity of discursive functions she fulfils by using the specific case of two mid Qing texts, Honglou meng and Jinghua yuan. The contradictions embodied in the recurring form of the woman warrior and her Amazonian sisters hold a key to understanding the complex and ambiguous signifying systems of sexual ideology in mid Qing Chinese culture. In this respect I will be invoking an Althusserian notion of the specific relationship between ideology and literature whereby the particular feelings or perceptions generated by the literature are regarded as being produced by the ideology within 'which it bathes, from which it detaches itself as art, and to which it alludes' through an internal distanciation from that very same ideology.2 In Honglou meng and Jinghuayuan this internal distanciation is made apparent by the elaborate use of myth in the former and irony in the latter.
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Zheng, Dandan, Yuhui Gui, Jian Kuang, and He Bing. "Downstream Channel Evolution and Its Causes in the Yuan River during the Qing Dynasty." Journal of Earth Science 34, no. 4 (August 2023): 1263–71. http://dx.doi.org/10.1007/s12583-021-1600-2.
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He, Qi. "An analysis of the art of gardening in Dongguan's Ke Garden and its inspiration." Highlights in Art and Design 1, no. 3 (November 22, 2022): 61–64. http://dx.doi.org/10.54097/hiaad.v1i3.2961.
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Dongguan gives many people the impression that it is a manufacturing kingdom with factories all over the city. In fact, Dongguan is not a cultural desert in the eyes of many people; it is also an ancient city with a deep literary and artistic heritage and accumulation. Especially in the heart of the city lies a small but exquisitely designed garden of the Qing Dynasty, the Ke Garden. It can be described as a unique artisanal and Auxiliary side. The four famous gardens of Guangdong (Qinghui Garden in Shunde, Liang Yuan in Foshan, Ke Yuan in Dongguan and Yu Yin Shan Fang in Panyu) are representative of the gardens of the Lingnan region. Although it is a Lingnan garden, it has all the commonalities of a Chinese garden, with its corridors and windows, rockery and fish ponds, and its twists and turns. Therefore, the author has chosen to cut through Dongguan's Ke Garden to see the big picture in a small way. In turn, the characteristics of Lingnan gardens and their inspiration for modern gardens are analysed.
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Sutton, Donald S. "A Case of Literati Piety: The Ma Yuan Cult from High-Tang to High-Qing." Chinese Literature: Essays, Articles, Reviews (CLEAR) 11 (December 1989): 79. http://dx.doi.org/10.2307/495527.
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Pohl, Karl-Heinz. "Ye Xie's "On the Origin of Poetry" (Yuan Shi) a Poetic of the Early Qing." T'oung Pao 78, no. 1 (1992): 1–32. http://dx.doi.org/10.1163/156853292x00081.
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