The Compilation, Publication and Dissemination of Rhyme Books and Rhyme Tables in Ming Dynasty

2012 ◽  
Vol 6 (1) ◽  
pp. 93-120
Author(s):  
Yun-Shan Sung
Keyword(s):  
Ming Dynasty ◽  
Great Increase ◽  
New Schools ◽  
Significant Progress ◽  
Paper Making ◽  
Ming And Qing Dynasties ◽  
Woodblock Printing ◽  
Book Publishers ◽  
Made In ◽  
The Ming Dynasty

The Ming and Qing Dynasties were a flourishing period for phonological studies. It witnessed the compilation of various rhyme books and rhyme tables, each with its particular features. Book printing during the Ming Dynasty saw a great increase in both the quantity and diversity of published works, while at the same time significant progress was made in the technologies of moveable type printing, multiple woodblock printing and printmaking. This paper investigates the conservative and innovative practices of rhyme book publishers and their publications. It also investigates how the interaction between the printing and publishing industries contributed to their common prosperity. It is found that the vigorous development of publication in both official and private sectors was the result of factors including favorable government policy, expansion of school education, growth of city economies, prosperity of the paper-making industry and advancement in printing technology, as well as the influence of new schools of literary and academic thought. The flourishing rhyme book and rhyme table publication during the Ming Dynasty cannot be understood independently of the academic currents and common publishing practices of the time.

Ideology and Sexuality: Rape Laws in Qing China

1987 ◽  
Vol 46 (1) ◽  
pp. 57-70 ◽  
Author(s):  
Vivien W. Ng
Keyword(s):  
Ming Dynasty ◽  
Female Sexuality ◽  
Sexual Life ◽  
Sexual Relations ◽  
Made In ◽  
The Ming Dynasty

It is generally accepted that Qing China (1644–1912) was a straitlaced, sexually repressed society. Robert H. van Gulik, for example, ended his study of sexual life in China with the fall of the Ming dynasty, in part because he believed that Chinese attitudes toward sexuality became much more repressive after the Ming, and the generalizations he made in his book were not appropriate for the Qing (1961:333–36). This dramatic change in attitude has been attributed to the resurgence of Cheng- Zhu Neo-Confucianism, with its strict view of sexual relations in general, and female sexuality in particular (Ropp 1981:120–24).

scholarly journals THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES

2020 ◽  
Vol 16 (3) ◽  
pp. 134-144
Author(s):  
Zhen Nyanchen
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Yuan Dynasty ◽  
The Qing Dynasty ◽  
Chinese Architecture ◽  
Ming And Qing Dynasties ◽  
Primary Type ◽  
The Yuan Dynasty ◽  
The Ming Dynasty

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.

scholarly journals The Transformation of Jesuits Strategy for Buddhism Based on the Jesuits Works in Early Modern China

2019 ◽  
Vol 4 (4) ◽  
pp. 119
Author(s):  
Peiyao Chen
Keyword(s):  
Early Modern ◽  
Ming Dynasty ◽  
16Th Century ◽  
Modern China ◽  
Chinese Society ◽  
Cultural Environment ◽  
Missionary Work ◽  
Ming And Qing Dynasties ◽  
The Ming Dynasty ◽  
Early Modern China

The Jesuits began their missionary work in Asia in the 16th century. After the missions in India and Japan, they tried to enter China and spread Catholicism at the end of the 16th century (Note 1). Due to the special political and cultural environment of China at that time, the missionary experience of Jesuits in India and Japan did not fully apply to Chinese society, which caused their missionary process to be rocky (Note 2). In order to adapt to the different environment of the Ming dynasty, Jesuits had to actively adjust their missionary strategies. After a period of observation and exploration, Jesuits used a missionary method of preaching through books in Ming and Qing dynasties (Note 3). Therefore, the adjustments of their missionary strategies are also reflected in their Chinese missionary works, including the adjustments of Jesuits’ evaluation of Buddhism in their Chinese missionary works, which is a question worthy of attention and research.

貢品與時尚：明代川扇考論

明代研究 ◽  
2021 ◽  
Vol 37 (37) ◽  
pp. 001-068
Author(s):  
劉紫依 劉紫依
Keyword(s):  
Material Culture ◽  
Ming Dynasty ◽  
Close Association ◽  
Subsequent Development ◽  
Past Research ◽  
Late Ming ◽  
Rich Diversity ◽  
The Rich ◽  
Made In ◽  
The Ming Dynasty

<p>摺扇的普及，是明代社會風尚異於前代的物質表徵之一。晚明最盛行的二種摺扇中，蘇州摺扇以書畫扇面與精製扇骨著稱，四川摺扇則以進貢聞名，明人常簡稱之為「川扇」、「蜀扇」等，川扇廣義上亦包括各地的仿製品。過往對中國摺扇的研究，多側重扇面書畫藝術與江南製扇工藝，對明代社會生活與物質文化的討論，則一般認為明代宮廷品味的時尚影響、文化底蘊相對不高，川扇不重書畫，又與明代宮廷關係密切，其興衰歷史、風格特點、文化內涵皆未得到充分探討。本文將考證川扇的興衰歷史，並梳理文獻、圖像中川扇的特徵，與明墓屢見出土的無書畫金面摺扇實物比對，指出後者應屬川式扇，並辨析川扇與日本、蘇州、杭州、榮昌等地摺扇的關係，思考不以書畫著稱的川扇在中國摺扇史中的地位，也探究川扇作為方物、貢品、賜物、禮物、商品等在明代的社會文化內涵。川扇大致發端於明初，此後進貢宮廷並成為時尚，作為明代高檔無書畫摺扇的代表，是蘇州書畫扇以外，明代摺扇發展的另一重要線索，體現了明代摺扇文化的豐富性，還對杭州摺扇影響深遠；川扇到晚明已與國計民生、世風人情有深密的交織，後隨明亡而衰落，是明代物質文化中極富時代特色的內容。</p> <p>&nbsp;</p><p>The unprecedented prevalence of folding fans marked one of the significant developments in social customs in the Ming dynasty. Folding fans made in Suzhou and Sichuan were the most famous ones in the late Ming. Suzhou folding fans were renowned for fan leaves decorated with calligraphy and painting and for delicate fan frames, while Sichuan folding fans were famous as tribute to the imperial court. The latter were usually abbreviated as &ldquo;Chuan fans&rdquo; or &ldquo;Shu fans&rdquo; in Ming sources. In a broad sense, Chuan fans also included folding fans in the Sichuan style made in other places in the late Ming. The history, features and culture of Chuan fans have not been fully examined for two reasons. First, past research has mainly focused on literati fan calligraphy and painting and the fan-making craft in Jiangnan. And, second, Chuan fans had close association with the court, but the tastes of Ming court has been generally disregarded by scholars as lacking in cultural depth. Drawing on texts and images, this essay sorts out the history and characteristics of Chuan fans, and links them with the folding fans excavated from Ming tombs, which feature golden leaves without calligraphy and painting. This paper also explores the connections between Chuan fans and those produced in Japan, Suzhou, Hangzhou, and Rongchang, and considers the broader place of Chuan fans in the history of Chinese folding fans. Furthermore, this essay explores the social and cultural implications of Chuan fans in the Ming dynasty as local specialties, tributes, bestowals, gifts, commodities and so on. Chuan fans generally appeared in the early Ming, and then became tribute goods as well as trendy items. Representing luxury folding fans that did not have painting or calligraphy, Chuan fans were no less important than the art-adorned Suzhou folding fans. indicating the rich diversity of Ming folding fan culture. Chuan fans also had a deep influence on the subsequent development of Hangzhou folding fans. By the late Ming, Chuan fans had already been closely connected with many aspects of Ming society. As the Ming dynasty fell, Chuan fans also declined, thus remaining of the unique elements of Ming material culture.</p> <p>&nbsp;</p>

Toward quantitative defect analysis using HREM

1994 ◽  
Vol 52 ◽  
pp. 714-715
Author(s):  
David J. Smith
Keyword(s):  
Electron Microscope ◽  
Unit Cell ◽  
Defect Analysis ◽  
Significant Progress ◽  
Detailed Characterization ◽  
Small Unit ◽  
Resolution Electron ◽  
High Resolution Electron Microscope ◽  
Large Unit Cell ◽  
Made In

The electron microscope has evolved to the level where it is now straightforward to record highresolution images from thin samples (t∼10 to 20nm) that are directly interpretable in terms of atomic arrangements. Whilst recorded images necessarily represent two-dimensional projections of the structure, many defects such as dislocations and interfaces may be linear or planar in nature and thus might be expected to be amenable to detailed characterization. In this review, we briefly consider the recent significant progress that has been made in quantitative defect analysis using the high-resolution electron microscope and then discuss some drawbacks to the technique as well as potential scope for further improvements. Surveys of defect modelling for some small-unit-cell materials and interfaces have recently been published, and reference should be made to other papers in this symposium for further examples.The technique of structure imaging originated in the early '70s with observations of large-unit-cell block oxides.

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