scholarly journals A Discussion about the Relationship between the Ancient Chinese Movement in the Tang Dynasty and Tang Legend

2019 ◽  
Vol 100 (null) ◽  
pp. 53-70
Author(s):  
장굉위 ◽  
LeeSeokHyoung
Keyword(s):  
Tang Dynasty ◽  
The Tang Dynasty ◽  
The Ancient Chinese ◽  
The Relationship

scholarly journals Medieval Daoist Concepts of the Middle Kingdom

2019 ◽  
Vol 4 (2) ◽  
pp. 179-196
Author(s):  
Yi Liu ◽  
Casey Lee
Keyword(s):  
Tang Dynasty ◽  
Middle Kingdom ◽  
Chinese People ◽  
Indian Culture ◽  
Profound Influence ◽  
The World ◽  
The Tang Dynasty ◽  
The Ancient Chinese

AbstractThe ancient Chinese people believed that they existed at the center of the world. With the arrival of Buddhism in China came a new cosmic worldview rooted in Indian culture that destabilized the Han [huaxia 華夏] people’s long-held notions of China as the Middle Kingdom [Zhongguo 中國] and had a profound influence on medieval Daoism. Under the influence of Buddhist cosmology, Daoists reformed their idea of Middle Kingdom, for a time relinquishing its signification of China as the center of the world. Daoists had to acknowledge the existence of multiple kingdoms outside China and non-Han peoples [manyi 蠻夷] who resided on the outskirts of the so-called Middle Kingdom as potential followers of Daoism. However, during the Tang dynasty, this capacious attitude ceased to be maintained or passed on. Instead, Tang Daoists returned to a notion of Middle Kingdom that reinstated the traditional divide between Han and non-Han peoples.

scholarly journals Historical Supernovae and Supernova Remnants

1996 ◽  
Vol 145 ◽  
pp. 323-331 ◽  
Author(s):  
Zhenru Wang
Keyword(s):  
Tang Dynasty ◽  
Supernova Remnants ◽  
Supernova Remnant ◽  
High Energy ◽  
X Rays ◽  
Supernovae And Supernova Remnants ◽  
X Ray ◽  
The Tang Dynasty ◽  
High Energy Emission ◽  
The Relationship

The oldest historical supernova (SN), recorded by ancient Chinese in 14th Century B.C. on pieces of tortoise shells or bones, is identified with the aid of modern space γ-ray observations. Hard X-rays with energy up to 20 keV were observed from IC 443 by the X-ray satellite Ginga. We infer from these observations the age of IC 443 is ∼ 1000 — 1400 yrs. The result supports the hypothesis that IC 443 is the remnant of the historical SN 837 that occurred during the Tang Dynasty. The association between the supernova remnant (SNR) CTB 80 and SN 1408 has been hotly debated for about ten years and is briefly reviewed and discussed here. A new picture is presented to explain this association. High energy emission from historical SNRs can persist in a multiphase interstellar medium (ISM). As a result, the study of the relationship between SNRs and ancient guest stars has gained new vitality.

scholarly journals The relationship between climate change and wars waged between nomadic and farming groups from the Western Han Dynasty to the Tang Dynasty period

2016 ◽  
Vol 12 (1) ◽  
pp. 137-150 ◽  
Author(s):  
Y. Su ◽  
L. Liu ◽  
X. Q. Fang ◽  
Y. N. Ma
Keyword(s):  
Climate Change ◽  
Tang Dynasty ◽  
Animal Husbandry ◽  
Solid Material ◽  
Han Dynasty ◽  
Regional Productivity ◽  
Western Han Dynasty ◽  
Northern Areas ◽  
The Tang Dynasty ◽  
The Relationship

Abstract. In ancient China, shifts in regional productivity of agriculture and animal husbandry, caused by climate change, either led to wars or peaceful relations between nomadic and farming groups. During the period spanning the Western Han Dynasty to the Tang Dynasty, 367 wars were waged between these groups. While 69 % of the wars were initiated by nomads, 62.4 % were won by the farming groups. On a centennial timescale, the battlegrounds were mostly in northern areas (at an average latitude of 38.92° N) during warm periods, moving southward (at an average latitude of 34.66° N) during cold periods. On a decadal timescale, warm climates corresponded to a high incidence of wars (a correlation coefficient of 0.293). While farming groups were inclined to initiate wars during dry and cold periods, their chances of achieving victory were reduced at such times. The main reasons for this are, first, that a warm climate provided a solid material foundation for nomadic and farming groups, contributing especially to enhanced productivity among the former. However, the overriding desire of nomadic groups to expand essential subsistence means led to wars. Second, during cold periods, farming groups moved to and settled in the south, while nomadic groups occupied the Central Plain. Thus, the locations of the battlefields also changed. While other factors also influenced these wars, climate change served as a backdrop, playing an indirect role in wars between these groups.

Chinese Aesthetics

2020 ◽  
pp. 26-72
Keyword(s):  
Tang Dynasty ◽  
Han Dynasty ◽  
Five Dynasties ◽  
Artistic Conception ◽  
Chinese Aesthetics ◽  
History Of ◽  
The Tang Dynasty ◽  
Basic Ideas ◽  
The Ancient Chinese ◽  
Southern And Northern Dynasties

This chapter studies the development and basic ideas of Chinese aesthetics by reviewing the history of aesthetic perspective from the Han Dynasty; the Wei, Jin, and Southern and Northern Dynasties; the Tang Dynasty; the Five Dynasties; the Song and Yuan Dynasties; and the Ming and Qing Dynasties. The ancient Chinese artists pursued the artistic conception of beauty, namely, the integration of mind and objects, sentiments, and scenes, and the fusion of subjective emotions and objective landscape. Nevertheless, this conception overlooks the function of practice, the intermediary between mind and objects. Actually, there are three fundamental elements: emotion (first feeling) of aesthetic subjects; artistic conception sensed through the painting brush in practice (perception); poetry, books, songs, and paintings as artistic finished products (containing essence and sentiments). It is the combination, conformity, and harmonious co-existence of these three essentials (namely subject–practice–object) that constitute the art system aesthetics or design aesthetics.

scholarly journals The power of images: the model universe of the First Emperor and its legacy*

2002 ◽  
Vol 75 (188) ◽  
pp. 123-154 ◽  
Author(s):  
Jessica Rawson
Keyword(s):  
Tang Dynasty ◽  
Textual Information ◽  
Model Universe ◽  
Large Complex ◽  
Real People ◽  
The Tang Dynasty ◽  
The Subject ◽  
The Dead ◽  
The Ancient Chinese ◽  
Different Parts

Abstract Elaborately glazed Chinese pottery figures of camels and servants, dating to the Tang dynasty (A.D. 618–906), have been much prized by collectors and museums over the last three quarters of a century. They have been readily admired as a category of sculpture, but little attention has been paid to their functions within the tomb complex. An examination of the tomb of the First Emperor (d. 210 B.C.) reveals tomb figures as just one part of a large complex of structures and images. The famous terracotta warriors were an element in the elaborate burial of the Emperor, which also included ‘real’ people and animals, miniature bronze chariots, models of palaces and images of the heavenly bodies. If we are to understand the purposes of this complex of many different parts, we need to consider how the ancient Chinese viewed images of all categories. It would appear that in the eyes of the ancient Chinese, images were equivalent to the subject of the image. By creating images in bronze, pottery or in pictures, the ancient Chinese were presenting a universe for the dead Emperor. This article describes the philosophical concepts that informed this understanding of images and illustrates the discussion with archaeological finds and textual information. The archaeological discoveries of recent years have made a reassessment of Chinese tomb models necessary. The powers of these images were deemed to be considerable. The Chinese have never collected tomb figures because, in their view, such figures were the actual servants and soldiers of the dead.

The Concept of Famous Painting in the Tang Dynasty: The Case of Zhang Yanyuan’s Lidai minghua ji

2018 ◽  
Vol 6 (2) ◽  
pp. 191-222
Author(s):  
Xiaomeng Ning
Keyword(s):  
Tang Dynasty ◽  
Critical Reflection ◽  
Central Concept ◽  
New Approach ◽  
The Past ◽  
The Tang Dynasty ◽  
The Common ◽  
The Relationship ◽  
Common Understanding ◽  
Entire Text

AbstractThis essay offers a critical reflection on the central concept of “famous painting” as expounded in Zhang Yanyuan’s Lidai minghua ji (历代名画记, A Record of Famous Paintings of All Dynasties). Building upon the past scholarship, this essay will proceed in the following three steps. I propose to distinguish the concept of “famous painting” from the common understanding of painting. I argue that it is the former that plays a central role in the entire text of the Lidai minghua ji. As a result of this new approach, I will outline an intentional and discernable structure formed by the fifteen essays in the first three books. I proceed with discussing the relationship between famous paintings and famous painters so as to demonstrate Zhang Yanyuan’s implicit intention and considerations in selecting and evaluating painters and their works. Finally, I examine the basic formats of famous painting and further elucidate the historical dimension embedded within the concept of famous painting that constituted and changed the very idea under consideration.

The Baima Tibetans and the Di People of Chinese Historical Records: Challenging the Link

2008 ◽  
Vol 3 (1) ◽  
pp. 161-174
Author(s):  
Katia Chirkova
Keyword(s):  
Tang Dynasty ◽  
Chinese Character ◽  
Historical Records ◽  
Western Sichuan ◽  
Loan Words ◽  
Historical Texts ◽  
Linguistic Evidence ◽  
Popular View ◽  
The Tang Dynasty ◽  
The Ancient Chinese

This paper addresses a long-standing controversy surrounding the ethnicity of the Baima Tibetans, a Tibeto-Burman people in Western Sichuan Province whose ethnic and linguistic origins are yet to be satisfactorily ascertained. It focuses on one popular view, which attempts to link the present-day Baima Tibetans with the Di, an ancient Tibeto-Burman group documented in the Chinese historical records who inhabited roughly the same area until their gradual assimilation into the Han and the Tibetans during the Tang Dynasty. The paper examines and refutes all three types of evidence proffered in the literature in support of making such a link: geographical distribution, cultures and customs, and language. Focusing on the linguistic evidence, including autonyms and certain names of the Di contained in the historical texts, and two alleged Di loan words recorded in the ancient Chinese character dictionary 《說文解字》 , the paper makes use of first-hand fieldwork material to bear on the issue. It concludes that it is immature to say anything definite about the identity of the mysterious Di language or languages, let alone to directly link them with the speech of the modern Baima people, which is predominantly a Bodic language.

scholarly journals A STUDY OF SADNESS METAPHOR IN LI BAI’S POETRY AND ITS ENGLISH TRANSLATION FROM THE PERSPECTIVE OF IMAGE SCHEMA

2020 ◽  
Vol 1 (2) ◽  
Author(s):  
Huang Shanshan ◽  
Wang Feng
Keyword(s):  
English Translation ◽  
Tang Dynasty ◽  
Cognitive Linguistics ◽  
Effective Strategies ◽  
Great Poet ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Image Schema ◽  
Object Of Study ◽  
The Relationship

<p>Li Bai, a great poet in the Tang Dynasty, is known for his romantic poetic style, but sadness metaphor is not rare in his poems. Therefore, this paper takes sadness metaphor in Li’s poetry as the object of study to explore its metaphorical meanings from the perspective of cognitive linguistics. From that, we can find that image schema is frequently used as the source domain to describe the abstract sadness. Based on this, the authors focus on the relationship between sadness metaphor and image schema and then discuss the English translation of sadness metaphor, trying to find out the characteristics and effective strategies of translating sadness metaphor in Li Bai’s poems.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0693/a.php" alt="Hit counter" /></p>

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