The Liujiawa site of the Rui state of the Eastern Zhou in Chengcheng County, Shaanxi Province

2020 ◽  
Vol 20 (1) ◽  
pp. 41-53
Keyword(s):  
Late Stage ◽  
Musical Instruments ◽  
Shaanxi Province ◽  
Rammed Earth ◽  
Autumn Period ◽  
Development History ◽  
Spring And Autumn Period ◽  
History Of ◽  
Critical Materials ◽  
Eastern Zhou

AbstractIn 2017 and 2018, Shaanxi Academy of Archaeology and other institutions conducted a rescue excavation to the Liujiawa site, which recovered features including city site, ditches (moats), rammed-earth foundations, burials, and unearthed bronze ding-cauldrons with “Rui Gong (Duke of Rui)” inscription, as well as bronze gui-tureens, chime bells, zheng-bells, chime music stones, jade ge-dagger axes, and other ritual and musical instruments. The scale of the site and the ranks of the artifacts all showed that the Liujiawa site was the site of the capital of the Rui state at its late stage in the early and mid Spring-and-Autumn period; the bronze chime bells and chime music stones unearthed at this site provided critical materials for the studies on the development history of ancient musical instruments and musical archaeology of China.

The Mudu Archaic City Site of the Spring-and-Autumn Period in Suzhou City, Jiangsu

2012 ◽  
Vol 12 (1) ◽  
Author(s):  
Joint Archaeological Team Of Instit ◽  
Suzhou Municipal Institute Of Archa
Keyword(s):  
Cultural History ◽  
Large Scale ◽  
The South ◽  
Autumn Period ◽  
The North ◽  
Regional Center ◽  
Water Gate ◽  
Spring And Autumn Period ◽  
History Of ◽  
Eastern Zhou

AbstractIn 2009 and 2010, a series of archaeological investigations were conducted in and around the Mudu archaic city site located in the southwestern highland of Greater Suzhou, Jiangsu. The excavations revealed sections of the north circumference wall at Wufeng and the water gate of the south circumference wall at Xinfeng. The surveys identified the possible locations of the east and the west circumference walls. Diagnostic proto-porcelain and stamped potsherds were recovered. It is tentatively argued that both the north and the south walls were built and in use during the late Spring-and-Autumn Period. The Mudu Site, therefore, was a large-scale walled settlement functioned as a regional center of its time. These findings are instrumental in the search for the lost capital of Wu State of the Spring-and-Autumn Period, the understanding of the relationship among the various contemporary settlement sites, cairns, earthen mounds, and caches distributed in the region, and the reconstruction of the local cultural history of Eastern Zhou.

scholarly journals THE XINIAN: AN ANCIENT HISTORICAL TEXT FROM THE QINGHUA UNIVERSITY COLLECTION OF BAMBOO BOOKS

Early China ◽  
2016 ◽  
Vol 39 ◽  
pp. 53-109 ◽  
Author(s):  
Olivia Milburn
Keyword(s):  
Autumn Period ◽  
Warring States ◽  
Reliable Source ◽  
Historical Text ◽  
Spring And Autumn Period ◽  
History Of ◽  
The Subject ◽  
Western Zhou ◽  
Complete Translation ◽  
Entire Text

AbstractThe Xinian or Annalistic History is one of an important collection of ancient bamboo texts donated anonymously to Qinghua University in 2008. The Xinian covers events from the history of the Western Zhou dynasty (1045–771 b.c.e.), through the Spring and Autumn Period (771–475 b.c.e.) and into the Warring States era (475–221 b.c.e.). Since the first publication of this manuscript in 2011, it has been the subject of much research, though this has usually been focused on the sections which have important parallels within the transmitted tradition. This article proposes a new way of understanding the Xinian, as a compilation produced from at least five source texts, and provides a complete translation of the entire text. Furthermore, although the contents of the Xinian are frequently at variance with the transmitted tradition, in particular the account of events given in the Zuozhuan, in some instances it may prove the more reliable source. The Xinian also provides some information concerning the history of the early Warring States era that helps to explain events in this generally badly documented era.

The tomb of the Spring-and-Autumn Period at Jiwang Gu in Yishui County, Shandong

2014 ◽  
Vol 14 (1) ◽  
Keyword(s):  
Large Scale ◽  
Special Structure ◽  
High Rank ◽  
Autumn Period ◽  
Spring And Autumn Period ◽  
Eastern Zhou ◽  
Grave Goods

AbstractThe tomb of the Spring-and-Autumn Period at Jiwang Gu (Jiwang Mesa) is a stone shaft pit tomb with wooden chamber cut out of the rock on the top of the mesa; it consists of the grave, the passageway and the chariot-and- horse pit, and the grave and the chariot-and-horse pit are in the same rock pit. The grave is partitioned into the outer coffin chamber, the inner coffin chamber, two nested coffins, two storage boxes and three human victim pits. From this tomb, large amounts of jades, bronzes and other artifacts about 200 pieces (or sets) in total were unearthed. This tomb has large scale, high rank, special structure and rich grave goods, all of which are significantly meaningful for the researches on the cultures and burial system of this region during the Eastern Zhou Period.

Spring and Autumn Period

1995 ◽  
Vol 54 (1) ◽  
pp. 148-152
Author(s):  
Constance A. Cook
Keyword(s):  
Market Economy ◽  
Gift Giving ◽  
Autumn Period ◽  
Tribal Group ◽  
Bronze Vessels ◽  
Spring And Autumn Period ◽  
History Of ◽  
Chinese Religions ◽  
Local Courts ◽  
The Right

In the history of chinese religions the Ch'un-ch'iu or Spring and Autumn period (eighth to fifth centuries B.C.E.) was a time of transition between the court rituals of the Western Chou gift-giving society and the private or local cult practices evident in the later Eastern Chou market economy (Cook 1993a). This was the time when the local lords usurped the Chou king's ritual “power” (te) to “charge” (ming) and the Chou lineage lost its authority. The transition is most evident in the speeches (yueh) of the kings and local rulers inscribed on the eating or striking surfaces of the late Western Chou and early Ch'un-ch'iu-period ritual bronze vessels and bells. These speeches or “spoken” liturgies of legitimation initially focused on the spiritually sanctioned right of the ruler to “charge” a gift recipient, but later simply focused on the right of the vessel-maker to charge himself. This shift is most evident after 771 B.C.E. when a western tribal group forced the Chou to flee their ancestral lands and altars. Local lords, originally on the periphery of Chou authority, called themselves kings and manipulated the Chou ideology to legitimate their own independent identities (see Cook on Chu in Cook and Major forthcoming). They relied on the guidance of ritualists (possibly descendants of the Western Chou shih and yin)whose knowledge of Chou liturgy and rites was a valued commodity at local courts (Cook 1993b).

scholarly journals О РОДОВОМ ИЕРОГЛИФЕ КОНФУЦИЯ

2020 ◽  
Vol 54 (4) ◽  
pp. 25-32
Author(s):  
Д.В. Конончук
Keyword(s):  
Early History ◽  
Chinese Characters ◽  
Semantic Field ◽  
Autumn Period ◽  
Cultural Pattern ◽  
Spring And Autumn Period ◽  
History Of

В статье освещается вопрос об изначальном семантическом поле иероглифа кун 孔 – родового иероглифа Конфуция, выявляется происхождение и ранняя история знака 孔, проясняется его генетическая смысловая связь со знаком цзы 子 «ребенок», семантическая связь со знаком цзя 嘉 «превосходный», а также общая его встроенность в культурный паттерн чжоуского ритуала. Автор приходит к выводу об исходных значениях знака кун 孔 «отличать» («отмечать», «выделять из») и «отменно» («отлично», «отличительно»), что и обусловило частое употребление знака кун 孔 в качестве именного иероглифа в эпоху Чуньцю, включая факт пожалования данного имени правителем Сун предку Конфуция Кун-фу Цзя 孔父嘉, в результате чего знак кун 孔 стал у будущих предков Конфуция родовым именем-ши. Ключевые слова: Конфуций, иероглиф, род, этимология, семанитика The paper deals with the initial semantic field of the character kong (孔) known as Confucius’ ancestral character. The author describes the features of its integration into the cultural pattern of the Zhou ritual and explains the origin and early history of the character, its semantic connection with the character zi (子) and jia (嘉). It is concluded that the initial meanings of the character kong are «to differ» («to mark», «to emphasize») and «excellent» («different», «selected»). Such semantics explains the frequent usage of this character during Spring and Autumn period and the fact that it was given by the leader of Song to Kong-fu Jia (孔父嘉), the ancestor of Confucius, with the result that the character kong became a new clan name or shi among the forefathers of Confucius. Keywords: Confucius, Chinese characters, etymology, semantics

ABCs of the Revolution

2020 ◽  
Vol 17 (3) ◽  
pp. 278-291
Author(s):  
Egor A. Yesyunin
Keyword(s):  
Civil War ◽  
Second World War ◽  
World War ◽  
Special Significance ◽  
Development History ◽  
The People ◽  
Red Army ◽  
History Of ◽  
Second World ◽  
The Revolution

The article is devoted to the satirical agitation ABCs that appeared during the Civil War, which have never previously been identified by researchers as a separate type of agitation art. The ABCs, which used to have the narrow purpose of teaching children to read and write before, became a form of agitation art in the hands of artists and writers. This was facilitated by the fact that ABCs, in contrast to primers, are less loaded with educational material and, accordingly, they have more space for illustrations. The article presents the development history of the agitation ABCs, focusing in detail on four of them: V.V. Mayakovsky’s “Soviet ABC”, D.S. Moor’s “Red Army Soldier’s ABC”, A.I. Strakhov’s “ABC of the Revolution”, and M.M. Cheremnykh’s “Anti-Religious ABC”. There is also briefly considered “Our ABC”: the “TASS Posters” created by various artists during the Second World War. The article highlights the special significance of V.V. Mayakovsky’s first agitation ABC, which later became a reference point for many artists. The authors of the first satirical ABCs of the Civil War period consciously used the traditional form of popular prints, as well as ditties and sayings, in order to create images close to the people. The article focuses on the iconographic connections between the ABCs and posters in the works of D.S. Moor and M.M. Cheremnykh, who transferred their solutions from the posters to the ABCs.

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