Christian Poetry from Tang to Republican Era

2021 ◽  
pp. 332-346
Author(s):  
Zhaohui Bao
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
Republic Of China ◽  
Chinese Christians ◽  
Republican Era ◽  
The Tang Dynasty ◽  
The Republic ◽  
Chinese Writing ◽  
Historical Periods ◽  
Poetic Style

This essay surveys Christian poetry in the Tang dynasty to the Republic of China era. It discusses two basic criteria for defining the constitution and requirements of Christian poetry. It also looks at poetic elements of Christian motifs and biblical genres as they were used in Christian poetry composed by foreign missionaries, non-Christians, and Chinese Christians. This essay also describes how Chinese Christian poets used the styles of Chinese poetry to express the themes of Christianity in different historical periods. According to this period, Xu Guangqi, Wang Zheng, Wu Li, Zhao Zichen, and Bing Xin are the important Christian poets. Wu Jingxiong, Zhu Weizhi, John Chalmers, and Frederick William Baller are excellent translators who translated Hebrew poems into Chinese poetic style. The essay discusses the contributions of Chinese Christian poetry to Chinese writing and the limitations of their writing based on context.

The Influence of Foreign Trade Activities on Chinese Loan Words from the Historical Perspective

2017 ◽  
Vol 7 (8) ◽  
pp. 690
Author(s):  
Yiming Zhao ◽  
Yeli Shi
Keyword(s):  
Foreign Trade ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Chinese Society ◽  
Late Qing Dynasty ◽  
Republic Of China ◽  
Loan Words ◽  
Late Qing ◽  
The Tang Dynasty ◽  
The Republic

In the process of thousands of years’ dynasties change and social development, it is not difficult to find the sustained impact of foreign trade on Chinese society. Trade has output both the goods and culture of China. At the same time it also brought in the material and non-material civilization from other places of the world. As a product of foreign culture, loan words are not only a microcosm of the outcome of trade activities in specific periods, but also enrichment to Chinese language. This article intends to elaborate the influence of trade activities on Chinese loan words with the development of history as the pointcut, focusing on the typical periods of the development of foreign trade in China, including the Han Dynasty, the Tang Dynasty, the late Qing Dynasty and the Republic of China.

scholarly journals The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric

2020 ◽  
Vol 17 (2) ◽  
pp. 303-317
Author(s):  
Ben Hutchinson
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
The West ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Modern Europe ◽  
Lied Von Der Erde ◽  
Poetic Creation

The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

The "Jesus-Mozi Dialogue" In The Revival of Mohism In The Republic Of China——Take Zhang Yijing, Wang Zhixin And Wu Leichuan As Examples

2021 ◽  
Vol 21 ◽  
pp. 143-162
Author(s):  
Jiaofeng HUANG
Keyword(s):  
Chinese Culture ◽  
Rational Model ◽  
Republic Of China ◽  
Modern Times ◽  
Chinese Christians ◽  
The Past ◽  
Traditional Chinese Culture ◽  
The Republic Of China ◽  
The Republic ◽  
Definition Of

"Jesus-Mozi Dialogue" is an underflow in the revival of Mohism in the Republic of China. Since modern times, the intellectual circles have mostly taken Christianity as the "rational model" of Mohism. When it comes to the best reference for Christianity in traditional Chinese culture, Mohism is always used as an example, which has been discussed in the field of Mohism research. However, in the past, people still paid little attention to the church's view of the "Jesus-Mozi Dialogue" between Mohist School and Chinese Christians, which is a pity. This article attempts to discuss the various viewpoints of Zhang Yijing, Wang Zhixin, and Wu Leichuan on Mohism and "Mohist religion" as examples, and looks forward to giving a clear definition of the literature and the division of school attribution to the results of the "Jesus-Mozi Dialogue".

Against the Monist Model of Tang Poetics

T oung Pao ◽  
2021 ◽  
Vol 107 (5-6) ◽  
pp. 633-687
Author(s):  
Lucas Rambo Bender
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
Poetry And Poetics ◽  
Religious Traditions ◽  
The World ◽  
The Tang Dynasty ◽  
Western Scholarship

Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.

China and the Formation of the Modernist Aesthetic Ideal

2015 ◽  
Author(s):  
David Porter
Keyword(s):  
Nineteenth Century ◽  
Tang Dynasty ◽  
Chinese Poetry ◽  
The West ◽  
Bloomsbury Group ◽  
History Of ◽  
The Tang Dynasty ◽  
Characteristic Features ◽  
Aesthetic Ideal

This chapter begins with an overview of the nineteenth-century history of the idea of China as an ‘aesthetic’ culture, or one that might be best apprehended through an aesthetic lens, in contrast to the ‘theoretical’ disposition of the West. In order to examine the function of the idea of a ‘Chinese aesthetic’ for Modernist writers, and the Bloomsbury group in particular, it focuses on Lytton Strachey’s play The Son of Heaven (1913), asking what imaginative needs does it serve and which characteristic features of Modernism the ‘Chinese aesthetic’ enables or brings to the foreground? In doing so it explains the origins of the early 20c obsession with Chinese poetry of the Tang dynasty, and how this poetry came to embody the notion of a Chinese civilizational aesthetic.

Sign in / Sign up

Export Citation Format

Share Document