scholarly journals FEMALE SCULPTURES OF TANG MONGOLIA (BASED ON MATERIALS FROM ULAAN HARAM SHAROON BUMBAGAR BARROW)

2021 ◽  
pp. 132-143
Author(s):  
Алексей Игнатьевич Бураев
Keyword(s):  
Gender Differences ◽  
Middle Ages ◽  
Tang Dynasty ◽  
Fine Arts ◽  
Shaanxi Province ◽  
Burial Mound ◽  
Central Asian ◽  
Female Figures ◽  
The Tang Dynasty ◽  
Made In

В статье проанализированы женские скульптурные изображения из кургана Улан Харам Шороон бумбагар в Баяннуур сомоне Булганского аймака Монголии. В погребении обнаружены в том числе и женские фигуры из терракоты. В настоящее время все материалы находятся на хранении в музее г. Хархорин. Характеристика керамической микропластики дана согласно апробированной автором схеме описания вотивных скульптур, с учетом гендерных различий. Цель публикации — введение в научный оборот сведений об особенностях женских средневековых изображений тюркского времени, выполненных их современниками. Дана характеристика 13 керамических фигур, выполненных в полный рост. В описании дана характеристика материала изготовления; приводятся инвентарные номера и размеры согласно документации музея; отмечается степень сохранности фигур; дано описание костюма, причесок, деталей макияжа; характеризуются антропологические особенности скульптурных изображений; дана расовая и, по возможности, этническая идентификация прототипов изображений. В статье отмечена схожесть находок (керамическая микропластика) из исследуемого погребения с изученными ранее материалами из кургана Шороон бумбагар в Замар сомоне Центрального аймака Монголии (хранящихся в Музее изобразительных искусств им. Г. Занабазара, г. Улан-Батор, Монголия). Кроме того, по всей видимости идентичные скульптурные изображения обнаружены при раскопках на северо-западе Китая погребения, датируемого периодом правления династии Тан, у деревни Яньцунь района Сисянь провинции Шэньси. Усыпальница принадлежит Сюэ Шао, первому мужу принцессы Тайпин, дочери императора Гаоцзуна. Исследование скульптурных материалов из баяннурского кургана позволило зафиксировать внешний облик знатных женщин эпохи средневековья из центральноазиатских степей. Компаративный анализ подтвердил уточненную датировку кургана последней четвертью VII в. н. э., что соответствует тюркскому времени в период господства империи Тан. Анализ статуэток позволил сделать вывод о возможном присутствии как южносибирского (тюркского), так и восточноазиатского (китайского) компонентов среди прототипов женских изображений. Новые данные позволили расширить знания о населении центральноазиатских степей в эпоху гегемонии империи Тан. The article analyzes female sculptural images from the Ulaan Haram Sharoon Bumbagar barrow in the Bayannuur Somon of the Bulgan aimag in Mongolia. Among other things, female figures made of terracotta were found in the burial. All materials are currently stored in the Kharkhorin museum. The characteristics of ceramic microplastics are given according to the author's approved scheme for describing votive sculptures, taking into account gender differences. The purpose of the publication is to introduce the scientific circulation of information about the features of female medieval images of the Turkic time, made by their contemporaries. The characteristics of 13 ceramic figures made in full growth are given. The characteristics of ceramic microplastics are given according to the author's approved scheme for describing votive sculptures, taking into account gender differences. The purpose of the publication is to introduce the scientific circulation of information about the features of female medieval images of the Turkic time, made by their contemporaries. The characteristics of 13 ceramic figures made in full growth are given. The description provides the characteristics of the manufacturing material; inventory numbers and sizes are given according to the museum's documentation; the degree of safety of the figures is noted; a description of the costume, hairstyles, makeup details is given; the anthropological features of sculptural images are characterized; the racial and, if possible, ethnic identification of the prototypes of the images is given. The article notes the similarity of finds (ceramic microplastics) from the investigated burial with previously studied materials from the Shoroon bumbagar mound in Zamar somon of the Central aimag of Mongolia (stored in the G. Zanabazar Museum of Fine Arts, Ulan Bator, Mongolia). In addition, apparently identical sculptural images were found during excavations in northwestern China of a burial dating from the Tang Dynasty, near the village of Yancun, Xixian District, Shaanxi Province. The tomb belongs to Xue Shao, the first husband of Princess Taiping, daughter of Emperor Gaozong. The study of the sculptural materials from the Bayannur burial mound made it possible to record the appearance of noblewomen of the Middle Ages from the Central Asian steppes. The comparative analysis confirmed the updated date of the mound to the last quarter of the 7th century AD, which corresponds to the Turkic time during the reign of the Tang Empire. The analysis of the statuettes made it possible to draw a conclusion about the possible presence of both South Siberian (Turkic) and East Asian (Chinese) components among the prototypes of female images. New data made it possible to expand knowledge about the population of the Central Asian steppes during the era of hegemony of the Tang Empire.

scholarly journals Technical features of a ninth-century silver vessel of southern China uncovered from Famen Monastery, Shaanxi province

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Panpan Tan ◽  
Junchang Yang ◽  
Xinlai Ren
Keyword(s):  
Tang Dynasty ◽  
Southern China ◽  
Eighth Century ◽  
Shaanxi Province ◽  
Non Invasive ◽  
Cu Alloy ◽  
Scientific Analysis ◽  
The Tang Dynasty ◽  
Technical Details ◽  
Technical Features

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.

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 Technical Features of A Ninth-Century Silver Vessel of Southern China Uncovered From Famen Monastery, Shaanxi Province

2021 ◽  
Author(s):  
Panpan Tan ◽  
Junchang Yang ◽  
Xinlai Ren
Keyword(s):  
Tang Dynasty ◽  
Southern China ◽  
Northern China ◽  
Shaanxi Province ◽  
Tool Marks ◽  
Non Invasive ◽  
Cu Alloy ◽  
Scientific Analysis ◽  
The Tang Dynasty ◽  
Technical Features

Abstract Silver 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-8th century CE. The typology, stylistics and iconography of silver vessels from both regions have been studied in detail. Moreover, the analysis of northern-origin silver vessels has garnered significant attention in recent years. However, the technological characteristics of southern silver vessels are unknown. The current work presents a non-invasive scientific analysis on a partially-gilded silver box from Jiangnanxidao of Tang (China), which was uncovered from the pagoda crypt of the Famen Monastery in Fufeng County, Shaanxi province. The analytical results reveal that the box was made of high-quality silver, smelted by cupellation, and composed of five pieces, which were bonded together with some sort of a soldering alloy. The ring foot was brazed to the bottom of box with Ag–Cu alloy. Hammering, brazing, engraving, repoussé, tracing and partial fire-gilding were employed to shape and decorate the box. One should note that these techniques are commonly observed in Tang silver vessels. Besides, the production and decorative procedures were identified through the tool marks. More strikingly, the comparison of tracing details between the southern box, presented here, and the previously reported northern silver vessels demonstrates that the former is more precise in terms of decorative details. Moreover, the similarities in motif expressions of southern-origin silver vessels after the mid-8th century and northern-origin silver vessels before the mid-8th century reflect the inheritance of decorative style, whilst the differences in technical skills indicate the evolution of decorative techniques, which attained high perfection by the southern silversmiths after the downfall of northern China. The current study presents novel insights into the silver technology of southern China during the late Tang dynasty.

scholarly journals Interpreters and the Writing of History in China

2009 ◽  
Vol 54 (2) ◽  
pp. 201-217 ◽  
Author(s):  
Rachel Lung
Keyword(s):  
Tang Dynasty ◽  
Primary Sources ◽  
Historical Records ◽  
Ancient China ◽  
Historical Texts ◽  
History Of ◽  
The Tang Dynasty ◽  
Liang Dynasty ◽  
Historical Accounts ◽  
Made In

Abstract This article argues that interpreters are crucial figures in the recording of history. Evidence taken from historical texts in ancient China is used to verify the claim that interpreters’ notes might have been used as a reference in composing historical records. By documenting the Tang dynasty (AD 618-907) policy to have interpreters interview foreign envoys and submit the relevant accounts to the Bureau of Historiography, this article provides background for the link between interpreters’ interview notes and history compilation in China. Evidence is further drawn from the history of the Sui dynasty (AD 581-618), whereby an interpreter’s mediated account of the emperor’s conversation with a Japanese envoy was directly adapted. Most interestingly, pictorial and written documents of foreign peoples made in the mid-6th century during the Liang dynasty (AD 502-557) were found to be very similar to the written accounts about these foreign peoples in Liangshu, the history of the Liang dynasty, completed in the early 7th century. Apparently, there is a solid link between the interview accounts and historical accounts about foreign peoples in China. Thus, there is a strong possibility that interpreters’ notes, in the form of reports, provide important, if not primary, sources for history compilation in China.

scholarly journals Carl Theodor Dreyer. La pasión de Juana de Arco. Francia, 1928

2019 ◽  
pp. 751
Author(s):  
Diana Arauz Mercado
Keyword(s):  
Middle Ages ◽  
Antonin Artaud ◽  
Gender Perspective ◽  
Joan Of Arc ◽  
The Feminine ◽  
Female Figures ◽  
Jeanne D'arc ◽  
Made In ◽  
The Middle Ages

<p><strong>La pasión de Juana del Arco</strong></p><p>Título original: La Passion de Jeanne d'Arc</p><p>Director: Carl Theodor Dreyer</p><p>Productora: Societé generale de films </p><p>Reparto: Maria Falconetti (Juana de Arco), Eugene Silvain (Obispo Pierre Cauchon), André Berley (el fiscal), Maurice Schutz (el canónigo), Michel Simon (juez), Antonin Artaud (el deán de Ruán), Gilbert Dalleu (el vice-inquisidor).</p><p>Género: Drama histórico, cine mudo, siglo XV, religión, película de culto</p><p>Guionistas: Carl Theodor Dreyer, Joseph Delteil</p><p>País de origen: Francia</p><p>Duración: 110 minutos</p><p>Año de lanzamiento: 1928</p><p align="center"><strong>“La pasión de juana de Arco”: del archivo histórico al arte cinematofráfico. </strong><strong>Un estudio desde la perspectiva de género</strong></p><p><strong>Resumen</strong></p><p>Juana de Arco (Domrémy 1412 - Ruán 1431), ha sido una de las figuras femeninas más controvertidas y a la vez fascinantes del Medievo, llevada al cine a través de distintas versiones cinematográficas. El presente estudio, analizará brevemente la aportación que sobre el proceso inquisitorial seguido a la doncella de Orleans realizó el director de cine y guionista danés C. Th. Dreyer en 1928, centrándonos desde una perspectiva de género en la importancia del significado de la imagen femenina y su representación, a través del séptimo arte.</p><p><strong>Abstract</strong></p><p>Joan of Arc (Domrémy 1412 - Rouen 1431), has been one of the most controversial and at the same time fascinating female figures of the Middle Ages, taken to the cinema through different cinematographic versions. The present study, will briefly analyze the contribution that the film director and Danish screenwriter C. Th. Dreyer made in 1928 about the inquisitorial process followed the maiden of Orleans, focusing from a gender perspective on the importance of the meaning of the feminine image and its representation, through the seventh art.</p>

scholarly journals The Palace that Could Be the Biggest in the World

2019 ◽  
Vol 18 (10) ◽  
pp. 16-23
Author(s):  
Sergey A. Komissarov ◽  
Aleksandr I. Soloviev
Keyword(s):  
Middle Ages ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Construction Workers ◽  
The World ◽  
The Tang Dynasty ◽  
The Many ◽  
The Military ◽  
Base Platform ◽  
Construction Works

The authors investigate the historical fate of one of four construction mega-projects of Qin Shihuangdi, namely, Epang Palace which was supposed to become the worthy dwelling for the first unifier of the Celestial Empire. Construction workers erected the giant platform-stylobate and built three walls around it. During the Middle Ages (from the end of the Han dynasty and up to the Tang dynasty) it accommodated the military Echeng settlement. Within the same period of time, by the efforts of literati and, first of all, by prominent poet Du Mu (803–852) who wrote “The Ode on Epang Palace”, a myth was created about the wonderful residence of the Emperor with many features such as watchtowers, pavilions and galleries, and how all these beauties were destroyed by rebellions in the great fire. Nevertheless, regular archaeological excavations conducted at the site during the period of 2002–2004 did not reveal any traces of such a fire. The Palace wasn’t burned down – it was simply never constructed. Furthermore, though the huge base platform of the Palace was registered by UNESCO experts as the biggest palace building in the world, no further complicated constructions were found on its surface (though some evidence of preparatory works were reported, for example, the many pieces of roofing tiles that were lifted to the platform). The results of archaeological investigations of real Epang meant the death-warrant to false Epang that was built by local authorities as popular tourist attraction, means a source of money. It was ruined in 2012 and replaced with archaeological park where all construction works were to be based on scientific reconstruction.

Direct and inferred influences of the Silk Roads on the ‘golden age’ of the Abbasid Caliphate

2018 ◽  
Vol 3 (3) ◽  
pp. 246-257 ◽  
Author(s):  
Imad Mansour
Keyword(s):  
Golden Age ◽  
Tang Dynasty ◽  
Fine Arts ◽  
First Century ◽  
Translation Research ◽  
Economic Productivity ◽  
Abbasid Caliphate ◽  
The Tang Dynasty ◽  
Conditions Of Possibility ◽  
East West

This article sheds light on the east-west international relations of the first century of the Abbasid Caliphate. It describes discernable Chinese influences on the onset and maintenance of a golden age of Islamic government in this century, distinguished for the flourishing of translation, research contributions in natural sciences and philosophy, sophistication in the fine arts, and economic productivity and prosperity. These influences were in the fields of trade, governance, artisan production, and scientific epistemological knowledge. The article argues that two interlocking factors helped create the conditions of possibility for the golden age of the Abbasid Caliphate: first, a positive disposition defined by pragmatism and accommodation by the Tang Dynasty found a counterpart in Abbasid policy; second, for the Abbasids, relations along the Silk Roads that had been developing for centuries valorized the potential of exchanges with the east, including China. The article explains the varied intensity of influences from the Silk Roads, as well as the Tang Dynasty, on the Abbasid golden age. It concludes by briefly explaining how people-to-people exchanges maintained ties, especially after the political power of both governments weakened and eventually ended.

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