Studies on the Original Text of The Analects Unearthed in Turpan and Its Transmission in the Late Han Dynasty, Wei, Jin and Southern and Northern Dynasties

2021 ◽  
Vol 26 ◽  
pp. 81-109
Author(s):  
Weihong Dai
Semiotica ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Fan Min

Abstract As the representative of Chinese classical works, the Analects represents a source of difficulty in both understanding and interpretation of Confucian philosophy. Confucian philosophy as a philosophy of creativity and otherness is closely related with the social and cultural values in society. Therefore, the study of Confucian philosophy in the Analects cannot be separated from the descriptive study of the effects of any and all aspects of society, including cultural norms, expectations, contexts, language use, and the effects of language use on society. This article attempts to explore how the meaning of Confucian philosophy in the Analects is interpreted and accepted by Western readers through complex social semiotic interactions. The article focuses on the interpretation of Confucian philosophy as a reflection of cultural assumptions, values and prohibitions, and the manipulation of the social semiotic resources in the process of understanding, translation, and acceptance of Confucian philosophy in the Analects through a discussion of its original text, different versions and the reasons behind the social semiotic activities. The article concludes with a consideration of significant social semiotic interactions that influence the translator’s interpretation and reader’s acceptance of Confucian philosophy so as to facilitate intercultural understanding.


Author(s):  
Lisa Raphals

The Chinese Classics are a group of texts of divination, history, philosophy, poetry, ritual and lexicography that have, to a significant extent, defined the orthodox Ruhist (Confucian) tradition of China. Since the Song dynasty (960–1279), they have consisted of the following thirteen texts: The Shujing, or Shangshu (Book of Documents, or Documents), the ‘classic’ of Chinese political philosophy. Allegedly compiled by Confucius, it contains a variety of historical documents, mostly dating from the fourth century bc.The Yijing (Book of Changes), a divinatory work using sixty-four permutations of broken (yin) and straight (yang) lines in six positions. It has two parts: the ‘Zhouyi’ (Zhou Changes), an ancient divination manual, and the Shiyi (Ten Wings), a commentary dating from the Warring States period (403–222 bc).The Shijing (Book of Songs, or Odes), a collection of 305 poems, ostensibly selected by Confucius, on a wide variety of subjects. It includes songs of farming, feasting and love that are clearly of popular origin. It also contains a variety of court poetry including dynastic hymns, hunting and banquet songs and political satires from the Zhou court (1121–222 bc).The Yili (Ceremony and Rites), a Warring States ritual text.The Zhouli (Rites of Zhou), another Warring States ritual text.the Liji (Book of Rites), a Han work that provides information about early Confucian philosophy and ritual. Together, works (4), (5) and (6) make up the Lijing (Classic of Rites).The Zuozhuan (Zuo Annals).The Guliangzhuan (Guliang Annals).The Gongyangzhuan (Gongyang Annals). Works (7), (8) and (9) are commentaries to the Chunqiu (Spring and Autumn Annals, or simply Annals), a chronicle of the reigns of twelve rulers of the state of Lu; its presentation of diplomatic and political events from 722–481 bc is terse and factual, but the three commentaries provide substantial elaboration and exegesis.The Analects of Confucius (Lunyu), containing anecdotes and short dialogues between Confucius and his disciples. In this work, Confucius established a new emphasis on humanistic ethics and political and social order.The Xiaojing (Book of Filial Piety), a short dialogue between Confucius and one of his disciples, concerned with filiality in both private and public life; it discusses children’s filiality to their parents and subjects’ filiality toward their rulers.The Erya, a book of glosses of Zhou dynasty terms (the title means ‘Graceful and Refined’).The Mengzi, which records a series of dialogues and debates between the philosopher Mencius and his students, several rulers and a variety of rhetorical and philosophical opponents. Mencius elaborated upon the Analects, arguing that human nature was inherently good and claiming that four ‘sprouts’ of goodness could be educated to create intuitive ability as the correct basis for moral judgments. The practice of appealing to authoritative texts appeared as early as the Analects of Confucius, around 500 bc. An explicit classical canon first appeared some four hundred years later during the Han dynasty (206 bc–ad 220), when Emperor Wu institutionalized a set of five classics associated with Confucius. At the same time he established new procedures for recruiting officials, created official chairs for the study of the Five Classics, restricted official academic appointments to those five areas and founded an imperial academy for the study and transmission of those works. In this way he effectively created a new ‘Confucian’ state religion. The term ‘classic’ (jing) also appears as the first of six categories of literature in the classification system of the bibliographical chapter of the Hanshu (History of the Former Han Dynasty). Classics (jing) are distinguished from masters (zi), the latter being grouped into nine schools starting with the Ru, or Confucians. Since the Han dynasty, the content of the classical canon has grown from the original five (or seven) texts, as established during the Han dynasty. The original group of classical texts that acquired official sanction during the early Han empire was supplemented by additional texts during the Tang (617–907) and Song (960–1279) periods. The Chunqiu (Spring and Autumn Annals) became known under the titles of three commentary editions, the Gongyangzhuan, Guliangzhuan and Zuozhuan, as noted above. The Lijing became known as three separate works on ritual, the Yili, the Zhouli and the Liji, again as noted above. The Erya was added to the classical canon during the Tang dynasty and the Mengzi during the Song dynasty, bringing the total to what became the standard thirteen texts. These works functioned as classics in a number of ways. They formed the core education of the bureaucratic elite, they provided an important source for imperial authority and they set the philosophical agenda for the dominant Confucian tradition. The classics are also significant for what they do not contain. Many of what are now considered the greatest philosophical works of the Warring States period are classified as masters, not classics; examples include the Zhuangzi, the Xunzi and (until the Song dynasty) even the Mengzi.


Author(s):  
Alexandra Harrer

More than fifteen hundred years separate the beginning of the Han dynasty (206 bce to 220 ce) from the fall of the Yuan dynasty (1267–1368). Milestones in the formation of traditional building culture were seen during the Han dynasty and the divided period of the Northern and Southern Dynasties (420–589); construction technology was still in an experimental phase and new cultural imports from Central Asia like Buddhism and influences from the politically separated but economically more advanced South stimulated the process of artistic exchange. New structural principles were imbued with philosophical meaning and connected to social status, once formulated in the Tang dynasty (618–907), were continued and perfectioned over the next centuries. It is an irony of history that the Liao (907–1125), a nomadic people who took over the rule of North China, preserved the iconic features of Tang architecture even better than the contemporary indigenous Northern Song (960–1279), which sheds light on the historical perception of Han-Chinese building culture and the culturally sensible process of Sinification. Design practice was rooted in China’s culture of institutionalization and normalization, and imperially commissioned technical standards for government sponsored construction have survived in the form of several almost intact manuscripts, namely through copies of the original text (Yingzao fashi 1103, 1145), that tell us about the superior level of craftsmanship at the Song court. But official, dynastic style and regional building styles developed next to each other under mutual influence, which is also evident in the architecture of the succeeding Jin (1126–1234) and Yuan dynasties. Magnificent palaces and temples with towering pagodas and multi-storied halls were built in great numbers in wood but due to the events of history, not a single pre-Tang timber building has survived even in the remote areas of Shanxi province. For the one thousand years between the establishment of the Han dynasty and the erection of the timber-framed main hall at Nanchansi (南禅寺, dedicated 782), the study of traditional Chinese architecture has relied on textual records, archeological evidence, and artistic representations on paintings and in relief. Architecture, and Chinese architecture is no exception, refers to both the process and the product of spatial design and in the material form of buildings. It is art, cultural heritage, and applied science, answering the needs of everyday life by providing physical and symbolic shelter. Thus, literature on Chinese architecture is multidisciplinary, interdisciplinary, and transdisciplinary, reflecting a variety of methodologies and a diversity of authors and readers.


2018 ◽  
Vol 14 (8) ◽  
pp. 145
Author(s):  
Xiang Yang Bian ◽  
Aijuan Cao

Most of the existing studies on Gui-Yi, which is a kind of ancient women’s dress of China, are barely about the interpretation of Xian (ie. a long ribbon made of silk) and Shao (ie. a hanging fabric of cloth, shaped like a swallow tail, tied to the waist) of Gui-Yi, on whose origin, development and evolution of the shape and structure there are few discussions. Based upon summarizing the literature, this paper points out that Gui-Yi in Han Dynasty was originated from a relic of San-di (ie. three kinds of ceremonial dress worn by queens in The Rites of Zhou Dynasty-a classical book in ancient China on the bureaucratic establishment system of Zhou Dynasty and the system of states in Warring States Period). In the paper, Gui-Yi is divided into two kinds according to images in archaeological studies, namely, the ‘Gui-Yi in one-piece system’ (‘one-piece system’ is Chinese robe) and ‘Gui-Yi in separate system’ (‘separate system’ is a kind of suit that consists of blouses and skirts). The former was popular in Han Dynasty, and the latter was popular in Wei &Jin Southern and Northern Dynasties. The change of the shape and structure of Gui-Yi conforms to the historical trend that the ‘Gui-Yi in one-piece system’ entered a recession in the late Eastern Han Dynasty and the ‘Gui-Yi in separate system’ became a popular mainstream in Wei &Jin Southern and Northern Dynasties. In addition, the paper points out female images wearing Gui-Yi in Gu Kaizhi's paintings influenced the expression of Gui-Yi image of Wei & Jin Southern and Northern Dynasties, and Gui-Yi were gradually brought into immortal statues during painters’ artistic processing of that time.


2012 ◽  
Vol 6 (2) ◽  
pp. 141-171
Author(s):  
Eun-Jeong Cho

This paper presents an integrated perspective on the use of serial modal particle ye yi yi (也已矣) in the in the Analects based on received documents and recently unearthed manuscripts. It is suggested that the serial modal particle ye yi yi was seldom used during the pre-Qin period. The use of ye yi yi might have become gradually more frequent from the Han Dynasty, given that eight instances were found in the Ruanyuan version and thirteen instances were found in the Huangkan version. The individual and serial use of the three modal particles ye (也), yi (已) and are then investigated in detail. The evolution of their grammatical function as well as the factors motivating change are also discussed.


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.


2004 ◽  
Vol 32 (02) ◽  
pp. 313-320 ◽  
Author(s):  
Fan Ka Wai

Famed for his surgical expertise, Hua Tuo of the Eastern Han dynasty also excelled in a range of other medical treatments. It is rarely noted that Hua treated patients with a combination of drugs and acupuncture therapy and acquired an expert knowledge of pharmaceutics. The purpose of this article is to explore the rarely studied achievements of Hua Tuo in pharmaceutics, and further discuss the status of Hua in the history of Chinese medicine. The article points out that Hua Tuo inherited the medical achievements of past generations and strongly influenced the development of medicine during the Wei Jin and Southern and Northern Dynasties.


2021 ◽  
Vol 9 ◽  
Author(s):  
Manping Sun ◽  
Yongjuan Sun ◽  
Haicheng Wei ◽  
Guangliang Hou ◽  
Ji Xianba ◽  
...  

The study of ancient city sites provides valuable evidence for understanding human-land relationships. Qinghai Lake Basin, on the northeastern Tibetan Plateau, was a key location for economic and cultural exchanges between East and West in ancient China and archaeological surveys have identified the remains of many ancient cities. Although there are relatively good historical records for some ancient cities, their absolute ages are still unclear due to a lack of systematic chronological dating. In this study, OSL dating of ceramic and tile remains from three ancient cities in Qinghai Lake Basin, Xihaijun (XHJGC), Beixiangyang (BXYGC), and Fuxi (FSC), was combined with documentary and paleoclimate evidence to investigate historical human-land relationships. Relics from XHJGC and BXYGC were dated to 0–220 AD, in the Han Dynasty, while tiles from FSC were dated to 120–520 AD, largely corresponding to the Wei Jin Southern and Northern Dynasties. Luminescence ages were generally consistent with dates recorded in historical documents, indicating that the OSL method can be reliably used to date buried tiles in ancient cities on the northeastern Tibetan Plateau. Comparing the dates with paleoclimatic records suggests that the warm and humid climate at c. 2 ka was an important driver of immigration to the region that led to the construction of cities in the Qinghai Lake area during the late Western Han Dynasty. During the Wei Jin Southern and Northern Dynasties (220–589 AD), communication between East and the West flourished, and human activities in the area were strong with the continuation of the war in Central China and Hexi Corridor. Fuxi was largely abandoned in the later Wei Jin Southern and Northern Dynasties, although it was still used intermittently until the Ming Dynasty. Pollen records confirm that humans were extensively engaged in agricultural production in the Qinghai Lake area during the Wei Jin Southern and Northern Dynasties.


Sign in / Sign up

Export Citation Format

Share Document