East Asian Exchanges and Mutual Perceptions through the Law of the Tang Dynasty: Focused on Gawn-si-ryung

2015 ◽  
Vol 48 ◽  
pp. 195
Author(s):  
Sung-Min Woo
T oung Pao ◽  
2018 ◽  
Vol 104 (3-4) ◽  
pp. 251-293
Author(s):  
Tony D. Qian

AbstractLiterary judgments (pan 判) were highly stylized prose pieces from the Tang dynasty written in response to legal and administrative controversies. The ability to compose judgments was the principal criterion by which candidates were selected for offices in the Tang bureaucracy. In this article, judgments written for cases that involved disputes between (prospective) spouses and their families are examined, with a focus on the use of extralegal considerations to resolve sensitive domestic conflicts. By analyzing select hypothetical judgments from Bai Juyi’s literary collection and three other judgments on family law cases (from a Dunhuang manuscript, a Tang miscellany, and the Song compendium Wenyuan yinghua 文苑英華), we may see how literary language and allusions played a role in eliciting the moral sensibilities and emotions of readers. For these cases, this strategy was more effective than arguments based on formal legal sources alone.


Buddhism ◽  
2021 ◽  

Xuanzang玄奘, the peripatetic Chinese Buddhist scholar-monk of the Tang dynasty (618-907 ce), was born into a literati family in Henan province in 600 or 602 ce. He is known by the sobriquet “Master of the Three Baskets [comprising the Buddhist Canon] .” (Skt.: Trepiṭaka; Ch.: Sanzang三藏) Xuanzang is regarded as the most prolific translator of Indic Buddhist texts from Sanskrit into Chinese—as well as the most historically significant, given that his comprehensive translations of Indic abhidharma and Yogācāra sutras and treatises (śāstras) revolutionized the study of Buddhism in East Asia. Attesting to his lasting influence on the tradition of East Asian Buddhism, all Buddhist Indic texts translated prior to Xuanzang are known as either the “ancient translations” (guyi古譯) or “the old translations” (jiuyi舊譯), while Xuanzang’s translations are termed “the new translations” (xinyi新譯). By retrieving the unalloyed teachings of abhidharma and Yogācāra Buddhist traditions from India and rendering them into fluid and readable classical Chinese, Xuanzang has left a legacy in the study of Buddhism in East Asia. Many of Xuanzang’s translations, such as the Heart Sūtra (Xinjing心經), remain the most widely used and circulated versions of these texts. Xuanzang’s long and arduous trek across the Silk Road to India is famously recorded in his travelogue entitled the Da Tang Xiyu ji (Great Tang records of the western regions). During his fourteen years in India (629–643 ce), Xuanzang collected Indic Buddhist texts hitherto not translated, studied with Buddhist masters, engaged in various religious debates, and acquired and mastered a vast and comprehensive knowledge of the Indic Buddhist texts in their original Sanskrit forms. Xuanzang returned to his native China in 645 ce to much acclaim and fanfare. Turning down a prestigious civil service appointment offered by Emperor Taizong, Xuanzang engaged in massive translation projects to render the texts he had gathered during his travels in India into Chinese. Under the lavish patronage of the second and third Tang emperors, Taizong and Gaozong, Xuanzang rose in status to become the preeminent East Asian Buddhist scholar and translator of his generation. Attracting students from Korea, Japan, and China, Xuanzang engaged the finest minds of East Asia in his translation and exegetical projects. Xuanzang has lived on in Chinese popular literary imaginary as the basis for the character Tang Sanzang 唐三藏 (Trepiṭaka of the Tang Dynasty) in the Xiyou ji西游記 (Journey to the west), one of the four great novels of the Ming Dynasty (1368–1644).


Author(s):  
Ryo Sakamoto ◽  
Ryo Sakamoto ◽  
Satoquo Seino ◽  
Satoquo Seino ◽  
Hirokazu Suzaki ◽  
...  

A construction of breakwaters and other shoreline structures on part of a coast influences drift sand transport in the bay, and causes comprehensive topographic changes on the beach. This study investigated shoreline and coastal changes, taking as an example of Shiraragahama Beach in Miiraku on the northwestern end of Fukue Island, Nagasaki Prefecture (Kyushu, Japan). Miiraku, adjacent to Saikai National Park, appears in the revered 8th century poetry collection “Manyoshu” and served as a port for a ship taken by the Japanese envoy to China during the Tang Dynasty (618-709). Because of the recent development of breakwaters for a fishing harbor, the shore environments of this beach have changed significantly. In this study, the status of silt deposits and topographic changes on this beach arising from the construction of a harbor breakwater were evaluated by comparing aerial photographs taken in different years. Next, the changes in the shoreline visible from aerial photographs from 1947 to 2014 were analyzed. Lastly, the altitude of the beaches was measured using accurate survey methods. The following results were obtained: 1) coastal erosion made rock cliffs to fall off along the shore and deposited sand on this beach; 2) the more serious advances or retreats of the shoreline took place around shoreline structures; 3) sandbars and beach cliffs were formed.


2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Panpan Tan ◽  
Junchang Yang ◽  
Xinlai Ren

AbstractSilver art is an important feature of the Tang dynasty in China and the manufacturing center for silver shifted from north to south after the mid-eighth century CE. The typology, stylistics, and iconography of silver vessels from both regions have been studied in detail. However, their technical characteristics have rarely been discussed, in particular, those of the southern ones. The current study presents a non-invasive scientific analysis on a partially-gilded silver box from Jiangnanxidao of Tang (southern China), uncovered from the pagoda crypt of the Famen Monastery, Shaanxi province. The results reveal that the box was made of refined silver from cupellation, and composed of five pieces, brazed together with hard solder. Ag–Cu alloy was identified to braze the ring foot and the box bottom. Brazing, hammering, engraving, repoussé, chasing, punching, and partial fire-gilding were employed to shape and decorate the box. More strikingly, the comparative analysis of technical details between this southern box and the previously reported northern silver vessels demonstrates that the former is more precise. Moreover, the similarities in motif expressions of southern-origin silver vessels after the mid-eighth century CE and northern-origin silver vessels before the mid-eighth century CE reflect the inheritance of decorative style. These differences and inheritance indicate that southern artisans after the mid-eighth century CE inherited the decorative technology of the northern-origin silver vessels before the mid-eighth century CE and developed them to greater perfection. The current study presents novel insights into the silver technology of southern China during the late Tang dynasty.


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