scholarly journals A Look at the Architectural Cultural Exchange Between East and West During the Yuan and Ming Dynasties from the Brick-Vaulted Bathroom Outside Nanjing’s Zhonghua Gate – A Secondary Publication

2021 ◽  
pp. 1-20
Author(s):  
Ying Bai ◽  
Tao Chen
Keyword(s):  
Central Asia ◽  
Ming Dynasty ◽  
Cultural Exchange ◽  
Yuan Dynasty ◽  
3D Scan ◽  
Cultural Exchanges ◽  
East And West ◽  
The Yuan Dynasty

There is a brick-vault roofed bathroom building, commonly known as the Cistern Hall (Wengtang), opposite the Grand Baoen Temple Heritage and Scenic Area near the Zhonghua Gate in Nanjing. This article analyzes its shape and characteristics by means of a 3D scan that surveys and maps out 2019 data on the site. On this basis, this article suggests that the bathroom may have been built as an annex to the Grand Baoen Temple in the early Ming dynasty. This kind of bathroom design originated in West Asia, entered China during the Yuan dynasty (1271‒1368) and became popular in the Jiangnan region during the Ming (1368‒1644) and Qing (1644‒1911) dynasties. In a lively exchange of architectural ideas, it bore witness to rich, in-depth architectural cultural exchanges between China, Central Asia, and West Asia in the Yuan and Ming dynasties.

Globalisation Interrupted? The Case of Opium in the Circulation of Medical Knowledge in Ming Dynasty China

2017 ◽  
Vol 60 (4) ◽  
pp. 524-548 ◽  
Author(s):  
José Antonio Cantón Álvarez
Keyword(s):  
Sixteenth Century ◽  
Medical Practice ◽  
Ming Dynasty ◽  
Medical Knowledge ◽  
Yuan Dynasty ◽  
Medical Practices ◽  
Medical Tradition ◽  
The Yuan Dynasty ◽  
Western Drug

The spread of Western medical practices to China, initiated during the Mongol dynasty, is often considered an example of “medical globalisation,” but few studies have looked at the actual level of adoption of Western medicine in the period after the Yuan dynasty. This essay analyses eighteen Ming dynasty medical sources in order to assess the role of opium, a Western drug, in post-Yuan medical practice. This essay concludes that opium was not widely used in the first centuries of the Ming dynasty, and, when finally adopted in the sixteenth century, its use was disconnected from the Yuan dynasty medical tradition. These findings make us question the continuity and even the existence of the “Mongol medical globalisation,” as well as the validity of the use of synchronic methodology for the study of centuries-long processes such as globalisation.

Zhao Luanluan and Her Tale

2019 ◽  
Vol 23 (2) ◽  
pp. 112-134
Author(s):  
Olivia Milburn
Keyword(s):  
Short Stories ◽  
Ming Dynasty ◽  
Tang Dynasty ◽  
Yuan Dynasty ◽  
Women's Poetry ◽  
Main Protagonist ◽  
The Yuan Dynasty ◽  
Female Poets ◽  
The Ming Dynasty

Abstract Zhao Luanluan 趙鸞鸞 is the main protagonist of an early Ming dynasty work of fiction, the “Luanluan zhuan” 鸞鸞傳 or “The Tale of Luanluan” by Li Changqi 李昌祺 (1376–1452), which is found in his collection of twenty-two short stories: Jiandeng yuhua 剪燈餘話 (More Stories Written While Trimming the Lamp). Zhao Luanluan is here described as a woman poet who is caught up in the fall of the Yuan dynasty, but subsequently she was further fictionalized as a Tang dynasty courtesan, and her poetic works reattributed to this imaginary person. Furthermore other related fictional female poets of the Ming dynasty have also been treated as genuine historical individuals, and their writings are included in many major anthologies of women’s poetry. This paper argues that the boundaries between genuine female poets and fictional female poets created by male writers have been consistently ignored.

scholarly journals Conditions For The Formation Of Ming Romans

2020 ◽  
Vol 02 (10) ◽  
pp. 440-444
Author(s):  
Samida Toshmukhammedovna Mustafaeva ◽  
Keyword(s):  
Foreign Relations ◽  
Ming Dynasty ◽  
Chinese Literature ◽  
Yuan Dynasty ◽  
The Novel ◽  
History Of ◽  
History Of Literature ◽  
The Yuan Dynasty ◽  
Folk Poetry ◽  
Artistic Skill

The Ming period is recognized as a period that introduced a new genre to Chinese literature, especially Chinese prose. During this period, novels from the masterpieces of Chinese literature saw the light of day. They are a valuable source for the study of Chinese literary language, as well as providing valuable information on the plot, historical facts, and the Darwin. In particular, the novel "Three Kingdoms", created in the Ming period, has a large volume and a plot rich in sharp turns, the events of the novel are based on the collapse of the Eastern Khanate, in general, various contradictions in public administration, political, military and foreign relations. The diversity in the author’s depiction of contradictions and struggles, the uniqueness in the depiction of each event, demonstrates the writer’s unparalleled artistic skill. In contrast to the "Three Kingdoms", the plot of “Water Margins” is based on the peasant uprisings and struggles; the play depicts the emergence, development and decline of the peasant uprising. The play praises a number of rebellious heroes, most of the protagonists of the work are extremely vivid, and their character is clearly described. The influence of the successful creation of the novels “Three Kingdoms” and “Water Margins” on the creation of historical and heroic novels of the next period is incomparable. The first phase of the Ming period was a turning point in the history of literature. With the end of the Yuan Dynasty (元朝 Yuán cháo 1206-1368) and the beginning of the Ming Dynasty, no other significant works were created during this period, except for two major novels, the Three Kingdoms (《三国演义》) and the River Basins (《水浒传》). It was not until 1465 that there was a renewal in drama and folk poetry.

A “Black Cult” in Early Medieval China: Iranian-Zoroastrian Influence in the Northern Dynasties

2017 ◽  
Vol 27 (2) ◽  
pp. 201-224
Author(s):  
SANPING CHEN ◽  
VICTOR H MAIR
Keyword(s):  
Cultural Exchange ◽  
Northern China ◽  
Yuan Dynasty ◽  
Medieval Period ◽  
Early Medieval ◽  
Common People ◽  
Early Medieval Period ◽  
Central Asian ◽  
Medieval China ◽  
The Yuan Dynasty

AbstractThrough an analysis of Chinese theophoric names - a genre that emerged in the early medieval period largely under heavy Iranian-Sogdian influence - we suggest that there was a contemporary ‘black worship’ or ‘black cult’ in northern China that has since vanished. The followers of this ‘black cult’ ranged from common people living in ethnically mixed frontier communities to the ruling echelons of the Northern Dynasties. By tapping into the fragmentary pre-Islamic Iranian-Sogdian data, we link this ‘black cult’ to the now nearly forgotten ancient Iranic worship of the Avestan family of heroes centered around Sāma. This religio-cultural exchange prompts an examination of the deliberate policy by the ethnic rulers of the Northern Dynasties to attract Central Asian immigrants for political reasons, a precursor to the Semu, the Mongols’ ‘assistant conquerors’ in the Yuan dynasty.

scholarly journals THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES

2020 ◽  
Vol 16 (3) ◽  
pp. 134-144
Author(s):  
Zhen Nyanchen
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Yuan Dynasty ◽  
The Qing Dynasty ◽  
Chinese Architecture ◽  
Ming And Qing Dynasties ◽  
Primary Type ◽  
The Yuan Dynasty ◽  
The Ming Dynasty

In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.

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