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.

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.

scholarly journals Yuan time metal mirror from the collection of the Altai State Museum of Local Lore

2021 ◽  
pp. 42-49
Author(s):  
N.N. Seregin ◽  
E.A. Narudtseva ◽  
A.N. Chistyakova ◽  
S.S. Radovsky
Keyword(s):  
Tang Dynasty ◽  
Yuan Dynasty ◽  
State Museum ◽  
Long Time ◽  
History Of ◽  
The Tang Dynasty ◽  
Image Shape ◽  
State Archives ◽  
The Yuan Dynasty

This article is concerned with the Chinese metal mirror, which, as it has been found during the study, has been stored for a long time in the collection of the Altai State Museum of Local Lore, but as yet has not attracted the attention of specialists and has not been introduced into scientific discourse. A special research has been required to determine the time and circumstances of its arrival to the museum, which involved working with the documentation of the Altai State Museum of Local Lore, stored both within the institute and in the State Archives of the Altai Territory. It has been concluded, that the mirror represents an occasional find and it came to the mu-seum in the first quarter of the 20th century from the Yenisei Province (currently, the southwestern part of Kras-noyarsk District. The article presents a detailed morphological characteristic of this artifact. The basis of the com-position in the ornamented part of the mirror is a stylized image of a single dragon. Its mouth is trying to grasp the holder, which symbolizes the “fire pearl”. The analysis of the specialised literature and catalogues showed that in Chinese mirrors such composition appeared only during the Tang Dynasty (618–907) and continued to exist dur-ing the Song Period (907–1279). It has been determined that the composition presented on such objects was reproduced for several centuries (Jin, Liao, and Yuan Dynasties), undergoing transformations associated with stylistic nuances (details of the image, shape of mirror, presence or absence of inscriptions) and size and quality of the objects. Based on the obtained data, the mirror from the Altai State Museum of Local Lore has been attrib-uted to the Yuan dynasty period. There are almost no analogies to such objects in Northern and Central Asia, despite the significant number of mirrors of the Mongolian time stored in collections of Siberian museums. There-fore, it seems possible to acknowledge the rarity of these very specimens; the fragmentarity of their distribution could possibly be explained by peculiarities of the history of specific craft centers that have yet to be investigated.

scholarly journals Voices from Afar: Yuan Diplomacy between Ritual and Practice

2020 ◽  
Vol 17 (2) ◽  
pp. 271-285
Author(s):  
Francesca Fiaschetti
Keyword(s):  
Southeast Asia ◽  
Song Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
North Vietnam ◽  
The Yuan Dynasty

Abstract In their expansion is Southeast Asia, the medieval Mongols encountered many challenges, and among them there was the necessity to legitimize themself in the eyes of those polities which had long established relations with the Song dynasty. In building his authority the founder of the Yuan dynasty, Qubilai Qa’an, shaped his diplomacy capitalizing on the skills of his non-Mongol subjects. From Confucian scholars to state officials, envoys and generals, many individuals participated in the Yuan diplomatic machine, thus finding their own justification to belong to the Yuan imperial project. The present paper sketches the narratives and rhetoric used by some of these individuals in the case of the Mongols long and challenging interaction with the neighboring kingdom of Đại Việt, in North Vietnam.

scholarly journals True Identity

2018 ◽  
Vol 66 (2) ◽  
pp. 100-119
Author(s):  
Ching-Ling Wang
Keyword(s):  
Fourteenth Century ◽  
Twelfth Century ◽  
Song Dynasty ◽  
East Asian ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
Fundamental Research ◽  
Buddhist Painting ◽  
Image Production ◽  
The Yuan Dynasty

In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.

An Investigation on Copper Red Glazes from Jingdezhen of the Ming and Qing Dynasties

1990 ◽  
Vol 185 ◽  
Author(s):  
Li Guozhen ◽  
Liu Zeyong ◽  
Guo Yengyi
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Yuan Dynasty ◽  
X Ray Diffraction ◽  
The Qing Dynasty ◽  
The Song Dynasty ◽  
Ming And Qing Dynasties ◽  
High Regard ◽  
Sophisticated Technology

AbstractCopper red glazes made at the pottery center of Jingdezhen during the Ming and Qing dynasties are one of the most famous and precious porcelain products of China. They were based on earlier technology developed in the Tong-guan kiln in Tang dynasty and on the Ru and Jun wares of the Song dynasty. The earliest copper red glazes appeared as early as the late Yuan dynasty. The dazzlingly beautiful altar red and ruby red products were created at Jingdezhen in the Yongle and Xuande periods of the Ming dynasty. Other copper reds created at Jingdezhen were the Longyao red of the Kangxi period and the imitation Jun, flambe amd others of Yongzhen and Qianlong periods of the Qing dynasty. Chinese copper red glazes have been held in high regard throughout the world, and many have wondered at their complex and sophisticated technology. Through analysis, we unlock some of the technical secrets of these famous wares in order that more people may appreciate the technical excellence underlying the visual appearances of these wares and that these glazes may be replicated better by contemporary ceramic factories in Jingdezhen.Seven examples of Jingdezhen copper red glazes were analyzed by scanning electron microscopy, x-ray diffraction, refiring tests and microprobe analysis to determine the compositions, microstructures and firing temperatures.

Daoist Meditation

2019 ◽  
Author(s):  
Louis Komjathy
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Historical Background ◽  
Background Information ◽  
Early Medieval Period ◽  
Insight Meditation ◽  
The Tang Dynasty ◽  
The One ◽  
Internal Alchemy

Meditation has been and remains a central practice in the Daoist (Taoist) tradition. This chapter examines Daoist meditation, often referred to as dazuo (“engaging in sitting”) and shouyi (“guarding the One”) in Chinese, from the Later Han dynasty to the present. It provides a general overview of the five major forms of Daoist meditation, namely, apophatic meditation, ingestion, visualization, inner observation, and internal alchemy. Ingestion (fuqi) and visualization (cunxiang) were first systematized in the early medieval period. Inner observation (neiguan), a Daoist adaptation of Buddhist insight meditation (vipassanā), became a central practice during the Tang dynasty. Internal alchemy (neidan) developed during the late Tang dynasty and early Song dynasty. Following this period, apophatic meditation and internal alchemy became the two dominant forms of Daoist meditative praxis. In addition to providing socio-historical background information, this chapter discusses the technical specifics of each type of Daoist meditation, including major texts and informing views.

Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

2016 ◽  
Vol 8 (35) ◽  
pp. 6529-6536 ◽  
Author(s):  
Xiaoyuan Li ◽  
Xianjun Wu ◽  
Yang Zhao ◽  
Qiaoyan Wen ◽  
Zhongbu Xie ◽  
...  
Keyword(s):  
Analytical Methods ◽  
Song Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
Composition Structure ◽  
The Yuan Dynasty

Several archaeological lacquerware samples tracing back to the Song dynasty (A.D. 960–A.D. 1279) and an ancient lacquer box remnant dating from the Yuan dynasty (A.D. 1271–A.D. 1368) were analyzed by various analytical methods in this article.

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