Two probable cases of mastoiditis in a cemetery from the Warring States to Han Dynasty (475 BCE–220 CE) in Qufu, Shandong Province, China

2020 ◽  
Vol 30 ◽  
pp. 77-84 ◽  
Author(s):  
Xiaowen Zhang ◽  
Yongsheng Zhao ◽  
Yueming Niu ◽  
Zimeng Wang ◽  
Wen Zeng
Author(s):  
Lisa Raphals

The Chinese Classics are a group of texts of divination, history, philosophy, poetry, ritual and lexicography that have, to a significant extent, defined the orthodox Ruhist (Confucian) tradition of China. Since the Song dynasty (960–1279), they have consisted of the following thirteen texts: The Shujing, or Shangshu (Book of Documents, or Documents), the ‘classic’ of Chinese political philosophy. Allegedly compiled by Confucius, it contains a variety of historical documents, mostly dating from the fourth century bc.The Yijing (Book of Changes), a divinatory work using sixty-four permutations of broken (yin) and straight (yang) lines in six positions. It has two parts: the ‘Zhouyi’ (Zhou Changes), an ancient divination manual, and the Shiyi (Ten Wings), a commentary dating from the Warring States period (403–222 bc).The Shijing (Book of Songs, or Odes), a collection of 305 poems, ostensibly selected by Confucius, on a wide variety of subjects. It includes songs of farming, feasting and love that are clearly of popular origin. It also contains a variety of court poetry including dynastic hymns, hunting and banquet songs and political satires from the Zhou court (1121–222 bc).The Yili (Ceremony and Rites), a Warring States ritual text.The Zhouli (Rites of Zhou), another Warring States ritual text.the Liji (Book of Rites), a Han work that provides information about early Confucian philosophy and ritual. Together, works (4), (5) and (6) make up the Lijing (Classic of Rites).The Zuozhuan (Zuo Annals).The Guliangzhuan (Guliang Annals).The Gongyangzhuan (Gongyang Annals). Works (7), (8) and (9) are commentaries to the Chunqiu (Spring and Autumn Annals, or simply Annals), a chronicle of the reigns of twelve rulers of the state of Lu; its presentation of diplomatic and political events from 722–481 bc is terse and factual, but the three commentaries provide substantial elaboration and exegesis.The Analects of Confucius (Lunyu), containing anecdotes and short dialogues between Confucius and his disciples. In this work, Confucius established a new emphasis on humanistic ethics and political and social order.The Xiaojing (Book of Filial Piety), a short dialogue between Confucius and one of his disciples, concerned with filiality in both private and public life; it discusses children’s filiality to their parents and subjects’ filiality toward their rulers.The Erya, a book of glosses of Zhou dynasty terms (the title means ‘Graceful and Refined’).The Mengzi, which records a series of dialogues and debates between the philosopher Mencius and his students, several rulers and a variety of rhetorical and philosophical opponents. Mencius elaborated upon the Analects, arguing that human nature was inherently good and claiming that four ‘sprouts’ of goodness could be educated to create intuitive ability as the correct basis for moral judgments. The practice of appealing to authoritative texts appeared as early as the Analects of Confucius, around 500 bc. An explicit classical canon first appeared some four hundred years later during the Han dynasty (206 bc–ad 220), when Emperor Wu institutionalized a set of five classics associated with Confucius. At the same time he established new procedures for recruiting officials, created official chairs for the study of the Five Classics, restricted official academic appointments to those five areas and founded an imperial academy for the study and transmission of those works. In this way he effectively created a new ‘Confucian’ state religion. The term ‘classic’ (jing) also appears as the first of six categories of literature in the classification system of the bibliographical chapter of the Hanshu (History of the Former Han Dynasty). Classics (jing) are distinguished from masters (zi), the latter being grouped into nine schools starting with the Ru, or Confucians. Since the Han dynasty, the content of the classical canon has grown from the original five (or seven) texts, as established during the Han dynasty. The original group of classical texts that acquired official sanction during the early Han empire was supplemented by additional texts during the Tang (617–907) and Song (960–1279) periods. The Chunqiu (Spring and Autumn Annals) became known under the titles of three commentary editions, the Gongyangzhuan, Guliangzhuan and Zuozhuan, as noted above. The Lijing became known as three separate works on ritual, the Yili, the Zhouli and the Liji, again as noted above. The Erya was added to the classical canon during the Tang dynasty and the Mengzi during the Song dynasty, bringing the total to what became the standard thirteen texts. These works functioned as classics in a number of ways. They formed the core education of the bureaucratic elite, they provided an important source for imperial authority and they set the philosophical agenda for the dominant Confucian tradition. The classics are also significant for what they do not contain. Many of what are now considered the greatest philosophical works of the Warring States period are classified as masters, not classics; examples include the Zhuangzi, the Xunzi and (until the Song dynasty) even the Mengzi.


2018 ◽  
Vol 14 (8) ◽  
pp. 145
Author(s):  
Xiang Yang Bian ◽  
Aijuan Cao

Most of the existing studies on Gui-Yi, which is a kind of ancient women’s dress of China, are barely about the interpretation of Xian (ie. a long ribbon made of silk) and Shao (ie. a hanging fabric of cloth, shaped like a swallow tail, tied to the waist) of Gui-Yi, on whose origin, development and evolution of the shape and structure there are few discussions. Based upon summarizing the literature, this paper points out that Gui-Yi in Han Dynasty was originated from a relic of San-di (ie. three kinds of ceremonial dress worn by queens in The Rites of Zhou Dynasty-a classical book in ancient China on the bureaucratic establishment system of Zhou Dynasty and the system of states in Warring States Period). In the paper, Gui-Yi is divided into two kinds according to images in archaeological studies, namely, the ‘Gui-Yi in one-piece system’ (‘one-piece system’ is Chinese robe) and ‘Gui-Yi in separate system’ (‘separate system’ is a kind of suit that consists of blouses and skirts). The former was popular in Han Dynasty, and the latter was popular in Wei &Jin Southern and Northern Dynasties. The change of the shape and structure of Gui-Yi conforms to the historical trend that the ‘Gui-Yi in one-piece system’ entered a recession in the late Eastern Han Dynasty and the ‘Gui-Yi in separate system’ became a popular mainstream in Wei &Jin Southern and Northern Dynasties. In addition, the paper points out female images wearing Gui-Yi in Gu Kaizhi's paintings influenced the expression of Gui-Yi image of Wei & Jin Southern and Northern Dynasties, and Gui-Yi were gradually brought into immortal statues during painters’ artistic processing of that time.


Early China ◽  
2009 ◽  
Vol 32 ◽  
pp. 103-124 ◽  

What did the early Chinese medical body look like before it was inhabited by the five viscera and before canonical medical rationale was framed in terms of the five agents (wuxing 五行)? This article makes the case for a body with an outwardly visible ‘form’ (xing 形) that housed invisible qi 氣 internally. The qi contained in this body was not the universal qi and all-pervasive stuff that we encounter in later medical texts. Nor can it be limited to the ‘breath’ referred to in the context of meditation techniques, since the term referred also to a moral dimension, thoughts and feelings. In the body's upper spheres, qi took on yang 陽 qualities and was associated with feelings of grief or joy; in its lower ones, it took on yin 陰 qualities and was associated with anger. Since this body was primarily a function of emotional and moral aetiologies, it is in what follows called a ‘sentimental body’, and is contrasted with the canonical ‘body ecologic’ which was most importantly a function of the seasons.The textual material presented in this article suggests that the ‘sentimental body’ with its two yinyang spheres was an early Chinese medical body conception. From an extensive computer search that systematically compared passages on xing and qi in the Yellow Emperor's Inner Canon with texts in the early medical manuscripts from Mawangdui and Zhangjiashan, it emerged as a distinctive body. While the canonical ‘body ecologic’, framed in a pentic numerology, became prominent in medical reasoning during to the Han dynasty (206 B.C.E.–220 C.E.), the ‘sentimental body’, which alludes to yinyang cosmologies, dates to the Warring States period (475–221 B.C.E.).


2021 ◽  
pp. 218-239
Author(s):  
Mark Edward Lewis

In 221 BCE the Qin state created the first unitary empire in continental East Asia. Although it innovated in exalting the title and status of the ruler, its continuation of the institutions of the Warring States led to policies that provoked rebellion and ultimately collapse. The subsequent Han dynasty introduced the changes that underlay all future East Asian empires: elaboration of the role of the emperor as supreme ruler and high priest; abandonment of universal military service; incorporation of nomadic peoples into the Han state order (primarily through military service); proclaiming the role of the state as chief patron of a textually defined cultural ecumene; and development of a new elite, combining aspirations to state service with local power bases created through land ownership, market-oriented agriculture, small-scale craft production, moneylending, and social networks fashioned through charity to and domination of poorer neighbors.


Early China ◽  
1989 ◽  
Vol 14 ◽  
pp. 1-25 ◽  
Author(s):  
Hu Pingsheng

The Fuyang bamboo-strip “Annals” was compiled prior to 165 B.C., at least sixty or seventy years earlier than Sima Qian edited the various chronological tables in the Shiji. The “Annals,” which begins about the time of the Gong He interregnum of the Western Zhou and continues through the time of Qin Shi huangdi, seems to be incompatible with the “Qin Records” and was perhaps compiled using the “Historical Records” of some state other than Qin. It possibly includes two different types of tables: one in which years denominate the vertical columns and statenames the horizontal rows, with events recorded therein horizontally; and one that records the number of years that the feudal lords reigned. Although extensive damage makes it impossible to reconstitute the “Annals,” it can still provide useful information regarding some historical questions, such as the Warring States-period states of “East Zhou” and “West Zhou,” the appellations “Current King” and “Current Duke,” etc.


Author(s):  
Zhang Wenjing ◽  
Wang Xiaokun

In recent years, the Yushu Museum has conducted a systematic investigation on the rock art of the Tongtian River Basin in its prefecture and newly discovered 1230 panels’ rock art (more than 1700 images). This paper is a statistical and comparative analysis of the newly discovered rock art. According to content and production techniques, we divided the rock art of the Tongtian River Basin into two big areas. The West Area is the upper part of the river basin, which is the area above the confluence of Tongtian River and Chumar River (Qumalai River); the East Area is the lower part of the river basin, which is from the confluence to the Batang estuary of Yushu. This area can be subdivided into three subareas. The majority of the Tongtian River Basin’s rock art is categorized as animal type. Yak and deer are respectively the main themes of the West Area and the East Area. In addition, there are other rock art types like symbol, character, pagoda, carriage and so on. The two areas have both commonalities and their own characteristics. Through the typological analysis of production techniques, in the cases of carriage rock art, and deer rock art, we think that the rock art mainly used the whole-image chiseling technique. This technique can be traced back to the Shang Dynasty; the rock art mainly chiseled linearly is dated to the early Zhou Dynasty to the Warring States Period; the rock art that was creates with the line carving technique is dated to the Warring States Period to the Western Han Dynasty; the rock art that was creates with the grind carving technique can be dated back to the Qin and Han dynasties; and the rock art mainly used scratching technique can be traced back to the Ancient Tibetan Empire Period (618-842 AD)


Antiquity ◽  
2012 ◽  
Vol 86 (331) ◽  
pp. 30-47 ◽  
Author(s):  
Tristram R. Kidder ◽  
Haiwang Liu ◽  
Minglin Li

The authors present the discovery of a Han period farming site sealed beneath 5m of flood deposits, where courtyard houses have been excavated belonging to the Western Han Dynasty and Wang Mang period (c. 140 BC–AD 23). Preservation is exceptional, both at the village of Sanyangzhuang itself and, by dint of satellite reconnaissance, over a vast landscape contemporarily covered by the flood. Deep profiles show that here land surfaces of the Neolithic and Warring States periods also lie buried. The potential for the study of the early agricultural sequence and a deeper knowledge of Han society is truly outstanding. The discoveries also offer a vivid account of the way a settlement was overwhelmed by flooding.


Author(s):  
Zhicheng Bi ◽  
◽  

The stone reliefs of the Han era (206 BC – 220 AD) are a special type of funerary art with its own specific set of plots and art forms. Shandong Province takes the first place in China in terms of number of founding relief images. The peculiarity of the compositional construction of the Han's reliefs is that it isn’t based on the spatial principle of image transmission, but on the plastic-planar pictorial principle of a two-dimensional composition, which, with its thoughtful use, can carry the maximum emotional charge [Moshkov, Kuznetsov 1994]. Based on that, author’s own typology of the compositions of Han reliefs was built. Article the object of the study are stone reliefs of the Han Dynasty, Shandong Province, represented on stone sarcophagi, in stone tombs, temples of ancestors and steles, and passed the past two stages of its heyday. The purpose and objective of the study is to identify and study the laws of evolution of the composition of the stone reliefs of the Han Dynasty, Shandong Province, based on V.M. Moshkova’s principles of composition, using systemic and iconological research methods. Images on the stone reliefs of the Han tombs are distinguished by the peculiarity of the forms of compositional constructions, the process of development and evolution of which occurs in accordance with certain laws. As a result of the study, it was revealed that the starting point for the development of relief compositions of stone sarcophagi were two forms – symmetrical and nested (including several levels following the outlines and forms of stone material), which during the heyday of the Western Han Dynasty supplemented the “V”-shaped composition. Their further development is associated with the use of dispersed, zoned, irregular composition techniques, which spread around in turn of the CE. At the same time, a variety of compositional forms is also observed in the reliefs of tombs, temples of ancestors and stelae, in the reliefs of which during the period of the Eastern Han (25–220 CE) many different forms of compositional organization appear: for example, asymmetric, segmented, shingles wrong etc. The composition of combinations of geometric shapes, consisting, as a rule, of squares and circles, is also distributed. A variety of compositional forms is associated, on the one hand, with the complication of the architecture of burial structures and an increase in their scale. On the other hand, with the enrichment of the content and plots of reliefs, which is becoming more diverse and includes not only the image of Confucian’s symbols, but also narratives that reflect episodes from the lives of those buried. This indicates not only the process of improving art forms during the Han era, but also reflects a certain evolution of religious and philosophical thought, changes that took place in this period in the social structure of ancient Chinese society, and also, possibly, some external influences on the development of Chinese art.


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