Creation of the Southern Song Navy

2018 ◽  
pp. 129-153
Keyword(s):  
Southern Song

scholarly journals Characterizing the sealing materials of the merchant ship Nanhai I of the Southern Song Dynasty

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Yihang Zhou ◽  
Kai Wang ◽  
Jian Sun ◽  
Yong Cui ◽  
Dongbo Hu
Keyword(s):  
Surface Coating ◽  
Song Dynasty ◽  
Weight Ratio ◽  
Tung Oil ◽  
Southern Song Dynasty ◽  
Southern Song ◽  
Merchant Ship ◽  
Main Components ◽  
Analytical Approaches ◽  
Sealing Materials

AbstractNanhai I is a highly valuable shipwreck of the Southern Song Dynasty for studying various topics, including the shipbuilding techniques. The sealing materials are of significant importance to ensure the ship’s reliability during the voyage across the ocean and they were rarely analyzed. Therefore, the sealing materials of this ship were analyzed by several analytical approaches. The sealing materials included two types, i.e., gap filler with jute fibers and surface coating without any oakum. The main components of both types of putty are calcite with minor Tung oil. The weight ratio of Ca(OH)2/Tung oil range from 4.3:1 to 7.9:1 for surface coating samples and the weight ratio of Ca(OH)2/organics is 3.1:1 for the gap filler sample. Additionally, we first find that the surface coating has a layered structure, where outer layers contain more Tung oil than inner layers. The innermost layer of the surface coating sample might be altered by organic acids from wood deterioration, causing its loose structure and grey color. The composite layers with different formula might be a result of balancing the costs and performances of the putty.

scholarly journals A Sinicised Religion Under Foreign Rule: Buddhism in the Jurchen Jin Dynasty (1115–1234)

2018 ◽  
Vol 22 (1) ◽  
pp. 23-52
Author(s):  
Hang Lin
Keyword(s):  
Material Culture ◽  
Cultural History ◽  
Zen Buddhism ◽  
Primary Sources ◽  
Cultural Traditions ◽  
Southern Song ◽  
Jin Dynasty ◽  
Time Period ◽  
Medieval China ◽  
Historical Writings

Buddhism in the Jurchen Jin (1115–234) dynasty has been regarded as a peripheral phenomenon; as such, it remains largely overlooked by traditional historiography. When placed into a broader context, however, both Buddhism under Jin rule and the dynasty itself functioned as a significant link in the long chain of Chinese cultural history. The Jin witnessed a crucial time period during which Chan (Zen) Buddhism, later the most popular Buddhist school in China, gained dominance and began its transmission of several major lines. Jin Buddhism also created a large corpus of material culture, thereby providing invaluable primary sources for the study of Buddhism in China. Based on an analysis of historical writings and archaeological evidence, this article examines the development and various characteristics of Buddhism during the Jin, its relationship with the Jurchen rulers and its influence on the Jin society as a whole. To a large extent, the Jin was at least as important to the development of Buddhism as the Southern Song (1127–276). Moreover, knowledge of Jin Buddhism is indispensable to understanding the Jin culture which, in turn, is essential to understanding the general development of the multifaceted cultural traditions in medieval China.

scholarly journals Tea Bowl with Decoration of Standing Cranes (Tachizuru): Made-to-order Ceramics Produced in the Japan House Kilns

2021 ◽  
Vol 311 ◽  
pp. 151-182
Author(s):  
KATAYAMA Mabi
Keyword(s):  
Cylindrical Shape ◽  
Historical Records ◽  
Port City ◽  
Edo Period ◽  
Hybrid State ◽  
Choson Dynasty ◽  
Southern Song ◽  
Choson Korea ◽  
The Subject ◽  
Shifting Boundaries

The Japan House (Korean: waegwan; Japanese: wakan) in the port city of Pusan, was a Japanese outpost during the Chosŏn dynasty. In the period 1639 to 1718, the Sō clan of Tsushima, commissioned made-to-order ceramics here, reflecting Japanese requirements, and a long-standing Japanese enthusiasm for kōrai chawan (“Korean tea bowls”), as demanded by the tea authorities in Japan. The focus of this paper is a group of tea bowls with decoration of standing cranes, the most representative type of made-to-order tea bowls produced at the Japan House kilns. Historical records and recent excavations of kiln sites have revealed that the type of tea bowl with standing crane design enjoyed popularity and continued to be produced until the closure of the Japan House kilns. A bowl of the deep, cylindrical shape adheres closely to early Koryŏ prototypes, while its notched foot resembles those of soft porcelain bowls made for ritual use. The subject of its design motif can be traced back to the ubiquitous cranes of Koryŏ inlaid celadon. The ethereal crane, traditionally associated with longevity, was popular in East Asian pictorial culture. The standing crane design on this type of tea bowl displays a combination of influences from the crane painting by the Southern Song painter Muqi (act. ca. 1240-75) and its reinterpretation by the Kano painters. This paper seeks to define the characteristics of the Japan House kiln products by examining its best-known type of tea bowl with decoration of standing cranes. It elucidates how the tea bowl with standing crane design is clearly not an imitation of early Koryŏ celadon but shows a range of decorative styles that reflect the tastes of the Edo-period daimyo tea world. While adapted to the tastes of Japanese consumers, the tea bowl with standing crane design produced at the Japan House kilns display influences from regional kilns in Chosŏn Korea. In this light, the type of tea bowl with decoration of standing cranes manifests a hybrid state of shifting boundaries and demarcations where Japanese and Korean influences coexisted and encountered with difference.

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