The remains of the ancient bridges on the Wei River in Xi’an City

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.

2016 ◽  
Vol 16 (1) ◽  
pp. 13-26

Abstract In 2014, Yunnan Provincial Institute of Cultural Relics and Archaeology and other institutions conducted large-scale excavation to the Dabona Cemetery located in Dabona Village and to its east of the Liuchang Town, Xiangyun County. The west zone of the Dabona Cemetery had widely distributed early cultural remains, including house foundations, postholes, ash pits, ash ditches, etc. The east zone consisted of two sections distributed in the north-south direction, in the north section of which 25 burials were recovered; among these burials, six were large-sized ones with lengths more than 6m, and the other were medium- and small-sized burials. The grave goods unearthed from these burials reflected that the dates of the remains and burials were roughly in the Warring-States Period to the Qin and Han Dynasties. The area where these remains and burials were located was the main inhabited area of the people of Kunming ethnic group; this excavation provided important materials for the researches on the features and the social situations of the bronze cultures in the Erhai Lake region.


2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.


2021 ◽  
Vol 40 (3) ◽  
Author(s):  
Zhiyu Wang ◽  
Jingyu Wu ◽  
Guang Yu ◽  
Zhiping Song

In traditional historical research, interpreting historical documents subjectively and manually causes problems such as one-sided understanding, selective analysis, and one-way knowledge connection. In this study, we aim to use machine learning to automatically analyze and explore historical documents from a text analysis and visualization perspective. This technology solves the problem of large-scale historical data analysis that is difficult for humans to read and intuitively understand. In this study, we use the historical documents of the Qing Dynasty Hetu Dangse,preserved in the Archives of Liaoning Province, as data analysis samples. China’s Hetu Dangse is the largest Qing Dynasty thematic archive with Manchu and Chinese characters in the world. Through word frequency analysis, correlation analysis, co-word clustering, word2vec model, and SVM (Support Vector Machines) algorithms, we visualize historical documents, reveal the relationships between functions of the government departments in the Shengjing area of the Qing Dynasty, achieve the automatic classification of historical archives, improve the efficient use of historical materials as well as build connections between historical knowledge. Through this, archivists can be guided practically in historical materials’ management and compilation.


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.


Author(s):  
Xiaojun Chai

This paper seeks to analyze the ways in which the exchange of silk for horses impacted trade regulations along the Silk Road, thus leading to a rupture in Chinese economic policy. Exchanges between the Qing Dynasty and the Kazakh Khanate were carried between 1759 and 1796, having begun after the Qianlong Emperor vanquished the Dzungar Khanate, which determined the khan of the Kazakhs to swear allegiance to the Emperor. As the Qing Dynasty had up until that point been both politically and economically isolationist, this marked a radical change in its foreign policy.The relation established between emperor and khan is known as chao gong mao yi(朝贡贸易)and is usually translated as vassalage, owing to the similarities with the European concepts, but it also involves the offering of tributes. Traditionally, when discussing the Qianlong Emperor’s decision to consolidate trade with its new vasal, scholars have tended to favor one of three narratives: the first sees this exchange in the same light as the economic relations between the imperial capital and any of China’s provinces, and therefore focuses on the inclusions character of the policy. The second considers the exchange of horses for silk as representing the immediate, dire needs of the two political leaders; while the Khan and his court required fine materials for their own prestige, the Emperor’s armies had an urgent need for horses in the fight against the rebellious Uighurs in Altishahr. The third postulates that engaging in trade would have allowed the isolated Qing to secure their borders.Rather than fully accepting or discarding any of these narratives, a more nuanced position can be gained. We can do this by understanding the implications of vassalage and tribute in close connection with the way in which the whole regional economic policy was modeled around it. I will look at the ways in which chao gong mao yi and its economical meaning were defined in Chinese archives. This will allow us to better understand their interconnected evolution. The Chinese archives that I will look at are formed of two types of documents: the first of these, the jun ji chu lu fu zou zhe (军机处录副奏折), are extensive reports on the affairs of the army, including their military actions and tactics, the power struggles between officers, and the rations needed to feed and supply the troops, to name only a few; the second, the Qianlong chao shi lu (乾隆朝实录), are concise reports that describe in minute detail the affairs of the imperial court. When taken together, these materials paint a vivid picture of the social, economic, and political life of late eighteenth-century China. From these sources we can see that the Qing opted for a sort of tribute trade which made a compromise on the tariff. This shows that while the Qing were clearly making some profit, the need of supplying the armies with horses in Alishahr wasmore important, and they were therefore forced to maintain their conservative economic policy.These materials offer new information which scholars that have tried to defend one of the three narratives in particular have so far neglected. Most important amongst these are two interconnected aspects: on one hand, by investigating how the Silk Road was rebuilt, we see that two different projects were used for the north and for the south. This led to the displacement of the economy towards the north, as it connected several important cities and trade hubs, such as Suzhou、Suzhou . By ignoring the regional impact, historians have tended to downgrade or neglect the changes that this disruption brought to the course of trade. On the other hand, this very separation is the thing that destabilized the region. It caused local unrest, uprisings and separatist tendencies. These episodes of local unrest forced a rethinking of the entire imperial economic policy.The Qianlong Emperor’s policy was never expansionist, neither in territorial nor in economic terms. While they were clearly aware of the importance of forging a strong relationship with their northern Kazakh neighbors, they never had any ambitions to expand towards inner Asia. We can observe this in the way in which the economic policy that they initiated with the Khanate later form the basis for the trade routes with Russia through Qiaketu. These routes would economically drain the Kazahks in the long term. That China was not expansionist at this point can easily be observed from the fact that it hesitated to break out of its traditional approach even when the Kazakhs were weakened, so it was the Russian who eventually absorbed them.To conclude, it can be said that a new understanding of China’s attitudes as a regional actor during the period of Qing Dynasty can be gained by looking at smaller units and understanding how different types of regional or local economic policies evolved together. Quite often, these impacted not only interconnected regions but the empire as a whole. As we have seen, the exchange of silk for horses along the Silk Road is just one such example. Given the rich material that is available in the Chinese archives, many other aspects could be studied.


2021 ◽  
Vol 10 (5) ◽  
pp. 312
Author(s):  
Jing Cui ◽  
Yanrong Liu ◽  
Junling Sun ◽  
Di Hu ◽  
Handong He

Based on the significant hotspots analysis method (Getis-Ord Gi* significance statistics), space-time cube model (STC) and the Mann–Kendall trend test method, this paper proposes a G-STC-M spatio-temporal analysis method based on Archaeological Sites. This method can integrate spatio-temporal data variable analysis and the space-time cube model to explore the spatio-temporal distribution of Archaeological Sites. The G-STC-M method was used to conduct time slice analysis on the data of Archaeological Sites in the study area, and the spatio-temporal variation characteristics of Archaeological Sites in East China from the Tang Dynasty to the Qing Dynasty were discussed. The distribution of Archaeological Sites has temporal hotspots and spatial hotspots. Temporally, the distribution of Archaeological Sites showed a gradual increasing trend, and the number of Archaeological Sites reached the maximum in the Qing Dynasty. Spatially, the hotspots of Archaeological Sites are mainly distributed in Jiangsu (30°~33° N, 118°~121° E) and Anhui (29°~31° N, 117°~119° E) and the central region of Zhejiang (28°~31° N, 118°~121° E). Temporally and spatially, the distribution of Archaeological Sites is mainly centered in Shanghai (30°~32° N, 121°~122° E), spreading to the southern region.


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)


2021 ◽  
Vol 12 ◽  
Author(s):  
Bo Hu ◽  
Fugui Xing ◽  
Miaorong Fan ◽  
Tingshao Zhu

Confucian culture has always been the most glorious component of Chinese culture. Governing the mainstream world of China for more than two millennia, it has cast a profound and long-lasting influence on the way of thinking and cultural-psychological formation of the Chinese people. Confucianism emphasizes caring about others with benevolence and governing a state with ethics, reflecting the importance of moral principles for politics. “Ren” and “Li” are important parts of the core values of Confucianism, so analyzing the differences between them and their evolution is of great significance for further understanding Confucian culture. This paper selected 132 classic Confucian works from SikuQuanshu, a large collection of books compiled during the Qianlong’s reign of the Qing Dynasty (1636–1912), to calculate the use of frequency of “Ren” and “Li” in those books by means of big data. Then the data was analyzed to show the development trajectory of “Ren” and “Li” from the Spring and Autumn period (770–476 BC) to the Qing Dynasty, providing a new perspective for the study of Confucian culture. The analysis result shows that from the Spring and Autumn period to the Qing Dynasty, both the frequencies of “Ren” and “Li” record a peak and a bottom: “Ren” has its peak in the Sui and Tang period (581–907) while “Li” reaches its climax in the Wei and Jin period (220–420); both “Ren” and “Li” hit their bottom during the Yuan Dynasty (1279–1368). The average frequency of “Li” is higher than that of “Ren” during most of the time (eight dynasties and periods). In general, “Li” is more frequently referred to in classic Confucian works than “Ren,” especially in those of the pre-Sui and Tang era. The An-Shi Disturbances in the Tang Dynasty may mark an important turning point for the frequencies of “Ren” and “Li” in classic Confucian works.


2016 ◽  
Vol 20 (1) ◽  
pp. 94-108
Author(s):  
Bing Wang

As a result of political demands and imperial cultural cultivation, the Qing Dynasty reigns of Kangxi (1661–1722) and Qianlong (1736–1796) both paid great attention to the traditional Han culture. During these periods, there were two landmark events that embodied the success of their cultural policy. These were the special examinations of boxue hongci (“breadth in learning and vastness in letters”, also called boxue hongru) in 1679 and 1736, and the publishing of numerous literary anthologies by the emperors. However, scholarly discussions have often focused mainly on aspects of political and cultural domination, and have rarely discussed the impact of these two events on literary circles in the early and middle Qing Dynasty. Thus, this paper examines the boxue hongci examination and the literary anthologies by Emperors as literary events and evaluate them from three perspectives. First, with regards to literary purposes, these two events fostered the link between official and elite discourses. Second, with regards to literary styles, these two events together facilitated the emergence at the height of the Qing Dynasty styles known as qingzhen yazheng (“purity, authenticity, elegance and correctness”) and wenrou dunhou (“gentleness and restraint”). Third, with regards to literary layout, the two events changed the proportion of writers’ identity and actively advanced the balance of the north and south literary circles.


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