A Comparative Study of the Ganjoe in the Tang Dynasty and the Song Dynasty

2019 ◽  
Vol 22 (1) ◽  
pp. 165-198
Author(s):  
Young-seop Jun
Keyword(s):  
Comparative Study ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
The Song Dynasty ◽  
The Tang Dynasty

Women Rulers in Imperial China

NAN Nü ◽  
2013 ◽  
Vol 15 (2) ◽  
pp. 179-218 ◽  
Author(s):  
Keith McMahon
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Extreme Case ◽  
Han Dynasty ◽  
The Song Dynasty ◽  
Women Rulers ◽  
History Of ◽  
The Tang Dynasty ◽  
Imperial China

“Women Rulers in Imperial China”is about the history and characteristics of rule by women in China from the Han dynasty to the Qing, especially focusing on the Tang dynasty ruler Wu Zetian (625-705) and the Song dynasty Empress Liu. The usual reason that allowed a woman to rule was the illness, incapacity, or death of her emperor-husband and the extreme youth of his son the successor. In such situations, the precedent was for a woman to govern temporarily as regent and, when the heir apparent became old enough, hand power to him. But many women ruled without being recognized as regent, and many did not hand power to the son once he was old enough, or even if they did, still continued to exert power. In the most extreme case, Wu Zetian declared herself emperor of her own dynasty. She was the climax of the long history of women rulers. Women after her avoided being compared to her but retained many of her methods of legitimization, such as the patronage of art and religion, the use of cosmic titles and vocabulary, and occasional gestures of impersonating a male emperor. When women ruled, it was an in-between time when notions and language about something that was not supposed to be nevertheless took shape and tested the limits of what could be made acceptable.

Of the Water Gate on the Ancient City Wall of China

2014 ◽  
Vol 1030-1032 ◽  
pp. 823-826
Author(s):  
He Qun Li ◽  
Yan Li Wu
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Sluice Gate ◽  
City Wall ◽  
The Song Dynasty ◽  
Water Gate ◽  
Ancient City ◽  
The Tang Dynasty

On the ancient city wall of China, the water gate used to been built. Probably before the Tang Dynasty, it always took the shape of hole in order to drain and prevent others from entering city. From the Song Dynasty on, for the sake of navigation, the majority of water gates became the sluice gate that could go up and down.

Analysis on the Cloud Shoulder Pattern of the Yuan Dynasty Fabrics

2013 ◽  
Vol 821-822 ◽  
pp. 823-828
Author(s):  
Ke Yan Liu
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
The Tang Dynasty ◽  
The Yuan Dynasty ◽  
Cloud Pattern ◽  
Usual Pattern ◽  
White Porcelain

The cloud shoulder pattern with four weeping clouds shape commonly used for decorating the parts from collar to shoulder for clothing and shoulder part for blue and white porcelain can be traced back to persimmon calyx pattern of the Han Dynasty. In the Tang Dynasty, the pattern of a four-petal leaf as first went for pattern details change and later advanced into cross flower, developing into the usual pattern decorated on fabrics. Till the Song dynasty, persimmon calyx pattern combined with Ruyi cloud (auspicious cloud) and was applied to architectures. However, the Yuan Dynasty’s shoulder cloud pattern with four weeping clouds shape used for decorating shoulders of clothing or porcelain was generated from combination of Ruyi cloud persimmon calyx pattern and “Bo” which was used to keep necks from wind and sand for Nomads in northern part of the country and developed into the cloud shoulder pattern focusing on decorating the shoulder of clothing and widely was used for nobles’ clothing. Gradually, the pattern was used for decorating crafts such as blue and white porcelain and gold and silver ware in the Yuan Dynasty. The cloud shoulder pattern spread from nobles to folks and was popular for decoration.

scholarly journals Silent Accord: Qi 契 as a Metaphor for Enlightenment and Transmission in Chan Buddhist Discourse

Religions ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 279
Author(s):  
Aleksi Järvelä ◽  
Tero Tähtinen
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Historical Background ◽  
The Song Dynasty ◽  
History Of

In this paper, we explore the historical background and the semantic underpinnings of a central, if marginally treated, metaphor of enlightenment and transmission in Chan discourse, “silent accord” 默契. It features centrally in Essentials of the Transmission of Mind 傳心法要, a text that gathers the teachings of Chan master Huangbo Xiyun (d. ca. 850), a major Tang dynasty figure. “Silent accord” is related to the concept of mind-to-mind transmission, which lies at the very core of Chan Buddhist self-understanding. However, Chan historiography has shown that this self-understanding was partially a product of the Song dynasty lineage records, historically retroactive syncretic constructs produced by monks and literati as efforts towards doctrinal and political recognition and orthodoxy. There are thus lacunae in the history of Chan thought opened up by the retrospective fictions of Song dynasty, and a lack of reliable, dateable documents from the preceding Tang dynasty era, possibly fraught with later additions. We situate the metaphor “silent accord” in the history of Chan thought by searching for its origins, mapping its functions in Chan literature, arguing for its influence and thereby its role in helping to bridge the 9th century gap.

Late Imperial Economy, 960–1895

2013 ◽  
Author(s):  
Tim Wright
Keyword(s):  
Economic History ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Western Europe ◽  
18Th Century ◽  
Chinese Economy ◽  
Early 19Th Century ◽  
Late Imperial ◽  
The Song Dynasty ◽  
European Experience

Although for most purposes “late imperial China” refers to the Ming and Qing dynasties (1368–1911), many scholars believe that key aspects of China’s late imperial economy came into existence as a result of a series of changes that began in the late Tang dynasty and culminated during the Song dynasty, known as the “Tang-Song transformation.” While these changes included, for example, the growth of markets, they were by no means limited to—or even mainly related to—economic history but included political changes, such as those in the nature of the elite. Without prejudging the issue, this article covers the whole period from the establishment of the Song dynasty to the first Sino-Japanese War, after which railways and economic modernization began to change the Chinese economy. The old stereotype of premodern China as unchanging and economically stagnant has long been discarded, and scholars recognize that China had a dynamic and successful economy that managed to feed a growing population and developed a range of sophisticated institutions. The stereotype is now being turned on its head, and many are asking whether as late as the 18th century at least parts of China were as prosperous and as advanced as western Europe, whether Chinese commercial and legal institutions were as accommodating of economic growth as those in Europe, and, as a result, how one can explain the “great divergence” that took place between Europe and the rest of the world from (in this view) the early 19th century. A further underlying issue is to what extent models based on the European experience can be used to understand or explain development patterns in China. The most notable example of trying to force Chinese development into a European framework was of course Marxist stage theory. But more recently “Eurocentric” theories and models of development that are based on the European experience have been more widely rejected coupled with attempts to develop more distinctively Chinese—or Asian—models.

scholarly journals THE TEA ROAD: FROM CHINA TO UZBEKISTAN (7-15TH CENTURIES)

2021 ◽  
Vol 58 (1) ◽  
pp. 4913-4924
Author(s):  
Mahfuza Bahriddinovna Mamatova
Keyword(s):  
Central Asia ◽  
Middle Ages ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Bilateral Trade ◽  
The People ◽  
Ferghana Valley ◽  
The Tang Dynasty ◽  
Tea Drinking ◽  
Made In China

Five thousand years ago, the first tea was made in China. Only from the beginning of the Middle Ages people of neighboring countries of China recognized tea and until the Tang Dynasty, tea drinking was not widespread. Beginning of the 7th century tea brought Central Asia with the Tea Road. From this period he stretched from China to India. At the centre of this path was Central Asia, the ancient cities of Uzbekistan namely after Samarkand, Bukhara, Tashkent and the Ferghana Valley. It was the northeastern Tea Road that connected China with Central Asia and was much more ancient than other directions of this route. In the 7-15th centuries The Tea Road developed in different historical periods. During the Tang Dynasty in China, Sogdian merchants brought tea to Central Asia. During the Song Dynasty, it was traded by Central Asian merchants and opened their tea shops in China. The Samanid rulers were the patrons of the tea trade. Under the Ming and Timuridsempire, an intensive ambassadorial-diplomatic relationship between China and Central Asia was strengthened. During this period, among the various goods, the main article of Chinese exports was tea, which was exchanged for thoroughbred horses brought from Central Asia. Since the time of the Tang Dynasty, bilateral trade has been established with Central Asia, and as part of the Tea Road, there were several main and a number of experimental routes along which tea went to Central Asia. In these paths, there were customs points - cities that played an important role in China's trade and economic ties with Central Asia. Today, tea is considered a favourite drink of the peoples of Central Asia, including Uzbekistan. Green tea is imported to Uzbekistan from China and it has become a national drink for the people of Uzbekistan.

scholarly journals Fu-lin dances in medieval Chinese art - Byzantine or imaginary?

2019 ◽  
pp. 69-94
Author(s):  
Angeliki Liveri
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Chinese Art ◽  
Northern Song Dynasty ◽  
Northern Song ◽  
The Tang Dynasty ◽  
Written Descriptions

Chinese artists, active from the Tang dynasty to Northern Song dynasty, created famous paintings including Fu-lin musical and dancing scenes; as e. g. Yan Liben, Wu Daozi and Li Gonglin. The most of these works are unfortunately lost; thus, we have information only from written descriptions to reconstruct them. Some researchers identify Fu-lin with the Byzantines; others disagree with this interpretation. Therefore, it is worthwhile to study whether the musical and dance motifs that referred to Fu-lin and were used by the above mentioned Chinese artists and literati can be identified with Byzantine elements and their performers with Byzantines ones.

Transitions

2017 ◽  
Author(s):  
Steven Heine
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Social Influences ◽  
Historical Background ◽  
Religious Leaders ◽  
Political Factors ◽  
The Tang Dynasty ◽  
China And Japan ◽  
Commercial Network

Chapter 2 examines political factors and social influences that contributed to the construction of the Legend of Living Buddhas, a benchmark for the institutional and artistic shift from Chinese Chan to Japanese Zen. It aims to answer the question of how the Zen monastic institution managed to gain a wide following of religious leaders and their disciples as well as lay followers, especially Song-dynasty literati, after struggling for centuries to grow in China beginning with the historical background of the Tang dynasty. Stressing the commercial network of maritime routes linking China and Japan, along with cultural as well as commercial connections that inspired monks to make the daring trip across the waters, the chapter shows how transnational relationships formed between creative priests from both countries, particularly in regard to the mythology of Living Buddhas.

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