A Dramaturgy of Death: Performing (And Spectating) Filial Piety in Early China

2021 ◽  
pp. 1-24
Author(s):  
Thomas Radice

Abstract This essay analyzes the early Chinese elite discourse on filial death rituals, arguing that early Chinese texts depict these rituals as performance events. Building on spectacle of xiao sacrifices in the Western Zhou Dynasty, Eastern Zhou authors conceived of filial death rituals as dramaturgical phenomena that underscored not only what needed to be performed, but also how it should be performed, and led to an important distinction between personal dispositions and inherited ritual protocol. This distinction, then, led to concerns about artifice in human behavior, both inside and outside the Ruist (Confucian) tradition. By end of the Warring States Period and in the early Western Han Dynasty, with the embracement of artifice in self-cultivation, the dramatic role of the filial son in death rituals became even more developed and complex, requiring the role of cultivated spectators to be engaged critics who recognized the nuances of cultivated performances.

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 Allegedly compiled by Confucius, it contains a variety of historical documents, mostly dating from the fourth century bc.The Yijing (Book of Changes), a divinatory work using sixty-four permutations of broken (yin) and straight (yang)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.


2019 ◽  
Vol 19 (1) ◽  
pp. 28-51

Abstract In the years 2015 through 2017, archaeological excavations were conducted to the Gujun Site in Xingtang County, which recovered burials, chariot-and-horse pits and sacrificial pits, house foundations, water wells, ash pits, kilns, ash ditches and other features, from which artifacts made of gold, bronze, jade, stone, bone, horn and antler, shell and cowry, pottery, etc. were unearthed. The date of this site was from the late Spring-and-Autumn Period to the mid and late Warring-States Period, in which the city site, burials and residential areas were existing together; their dates, locations and cultural connotations are all closely related to the Xianyu tribe and Zhongshan State, especially the chariot-and-horse and animal victim pits with unique form were the first archaeologically discovered remains of this type. The discovery of the Gujun Site reflected the convergence and evolutions of the cultures of the ethnic groups in the Northern Frontier Zone and the Huaxia System, and provided important materials for the researches on the processes of the Sinicization of the northern ethnic groups such as Rong and Di and the configuration of the Chinese nation as a pluralistic integration.


2015 ◽  
Vol 25 (3) ◽  
pp. 419-438 ◽  
Author(s):  
SARAH ALLAN

Abstract“When Red Pigeons Gathered on Tang's House” (Chi jiu zhi ji Tang zhi wu 赤之集湯之屋) is a Warring States period bamboo manuscript written in the script of the Chu state. It concerns figures that are well known in historical legend: Tang 湯, the founder of the Shang dynasty; his wife; his minister Yi Yin 伊尹, here called by the title xiaochen 小臣 [minor servitor]; and the last king of the Xia dynasty, here called simply the Xia Lord (xia hou 夏后). These figures have their familiar identities, but the tale recorded in the manuscript is unique and has no apparent political or philosophical import. The protagonist, Xiaochen, is Tang's cook, but he does not play the role of founding minister raised up by a future king. Moreover, he is associated with a nexus of motifs associated with shamans, including spirit possession. He acquires clairvoyance after eating a soup of magic red birds (jiu 鳩, [pigeons] or hu 鵠 [cranes]) intended for Tang. After fleeing from an angry Tang, he is possessed by a spirit-medium raven. He then cures the illness of the Xia Lord by having him move his house and kill the yellow snakes and white rabbits under his bed. One rabbit escapes and the story concludes that this is why parapets are placed on houses, suggesting that the context of the story was the construction of a building. Thus, it may have been similar to a historiola, narrated in a ritual to sanctify houses after the placement of the parapet, thus preventing illness among the inhabitants.


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)


Author(s):  
Wengcheong Lam

The appearance of the cast iron industry was one of the most technological innovations in ancient China. Nonetheless, how iron technology shaped the historical development during this critical period has not yet been fully investigated. This chapter first reviews evidence dating to the Spring and Autumn period regarding the appearance of bloomery iron and cast iron industry. Archaeological evidence suggests a simultaneous development of cast iron in multiple states during the first half of the first millennium BCE. Regional variations between these two centers were also present. The chapter further explores regional variations in the development of the iron industries during the Warring States period on the basis of frequencies and types of iron objects from burial data in the Jin, Qin, and Chu regions. The regional comparison suggests that the total amount of iron objects in the Qin state was much less than the assemblage in the three Jin states; the latter should belong to the manufacturing core given the frequencies and types of iron objects in tombs. Moreover, the local iron industry of the Chu state distinctively focused on the manufacture of weapons compared to former two states. In sum, the regional variations in iron industry should be the foundation for further addressing the social significance of iron technology in ancient China. In addition, the iron industry in the Qin state during the Warring States period should be more carefully scrutinized in the future because it might have been operated on a relatively smaller scale than presently understood.


2015 ◽  
Vol 15 (1) ◽  

AbstractThe remains of seven bridges in three groups across the Wei River to the north and northeast of the Chang’an City of the Western Han Dynasty discovered successively since 2012 filled in the blank of the archaeology of the bridges across the Wei River. Among the seven bridges, the Chucheng Gate Bridge No. 1 had huge size, which was the largest wooden structure bridge of the same period known to date. The 14C data showed that the Chucheng Gate Bridge No. 4 was built in the late Warring-States Period; the Chucheng Gate Bridge No. 1 was built in the Western Han and at least rebuilt for two times in the Eastern Han and the Three-Kingdoms Period and Western Jin Dynasty; the Luocheng Gate Bridge was built around the late Western Han through the early Eastern Han and the Chucheng Gate Bridge No. 3 was built in the Tang Dynasty. The coins of the Qing Dynasty unearthed in the excavated area of the Chucheng Gate bridges hinted that at latest in the Kangxi Era of the Qing Dynasty, the Wei River was still in the course of the Han through the Tang Dynasties, and the large-scale northward moving of the course of the Wei River would be after that period.


2013 ◽  
Vol 13 (1) ◽  
Author(s):  
Yong Yang

AbstractThe local-styled tombs of the Warring-States Period to the Western Han Dynasty recovered at Kele Site in Hezhang County, Guizhou Province had rich cultural connotations and distinct features, the “head encasing” burial custom of which was especially unique. These tombs showed sharp differences to the Han-styled tombs in the same cemetery and other regional cultural remains in peripheral areas and represented a new archaeological culture in the Xinan Yi (Southwest Barbarians) Region of the Warring-States to the Qin-Han Periods, which could be named as “Kele Culture”. The putting forward of the concept of “Kele Culture” and the research on it had great academic significance; they will positively influence the archaeological researches on the Xinan Yi Region of the Warring-States to the Qin-Han Periods and lay firm foundation for the in-depth archaeological exploration of Yelang Culture.


2015 ◽  
Vol 15 (1) ◽  

AbstractIn 2012 and 2013, the Institute of Archaeology, Chinese Academy of Social Sciences, Shandong Provincial Institute of Cultural Relics and Archaeology and Bureau of Cultural Relics, Linzi District conducted excavation to the remains of a mirror-casting workshop located to the south of Kanjiazhai Village within the large city of the Linzi City Site of the Qi State in Zibo City, Shandong. The recovered remains included casting pits, house foundations, wells, ash pits, kilns, paths and infant burials, the dates of which were mostly the Warring- States Period through the Qin and Han Dynasties; the ones related to the mirror-casting were casting pits, house foundations, wells and some ash pits. The pottery molds unearthed in the excavation were the face molds and back molds of mirrors. The stratigraphy, spatial structure and accumulation status as well as the large amount of mirror molds unearthed from the site all reflected that this site was a mirror-casting workshop site. The stratigraphic relationships and the unearthed artifacts showed that the date of this workshop was the Western Han Dynasty. The excavation of this mirror-casting workshop site provided valuable materials for the development of the relevant researches and can be seen as a great breakthrough of the researches on the bronze mirror-casting industry and technique of the Qin and Han Dynasties even the entire ancient China.


2021 ◽  
Vol 2 (4) ◽  
Author(s):  
Jingru Liu ◽  
Mengqi Jin

In painting, line is one of the basic compositional elements and an important "tool" for artists to express their ideas. The combination of line and color, composition, and shape allows the viewer to feel the author's thoughts, emotions, or distinctive thinking through the picture. Foreign cave paintings, European pre-Renaissance oil paintings and modern paintings, and domestic Dunhuang murals, silk paintings of the Warring States period and cave paintings all show that the contour line has never disappeared despite its different roles in the changing times. Therefore, the artist's generalized expression of contour lines can become a characteristic of the picture that makes the artist stand out.


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