Chinese Classics

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 Allegedly compiled by Confucius, it contains a variety of historical documents, mostly dating from the fourth century bc.The Yijing (Book of Changes), a divinatory work using sixty-four permutations of broken (yin) and straight (yang)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.

2018 ◽  
Vol 31 (31) ◽  
pp. 171-190
Author(s):  
王昌偉 王昌偉

<p>嘉靖2年(1523),巡按河南的王溱(生卒年不詳)打算刊刻《戰國策》,為此特別請文學復古運動的領導者李夢陽(1473-1530)作序。通過對序文及李夢陽相關著作的細讀,本文旨在說明,從表面看來,李夢陽似乎是以衛道之士的口吻,通過作序的方式批判《戰國策》為畔經離道之書,事實上這篇序文實含有多重視角。要理解李夢陽這篇序文的學術思想史意義,我們必須把它放置在明中葉以還「雜學」或諸子學興起的背景下考慮。跟宋代以來的理學家強調士人學術應該統一在宏大和具普遍意義的「道」之下的傾向不同,明中葉以後的思想家對世界的理解,則是以多元和分別為基礎,強調萬物的分殊和差異。本文將說明,李夢陽序《戰國策》的多重視角,正反映了明代中葉知識界重視多元性和差異性多於普遍性的特點。</p> <p>&nbsp;</p><p>Li Meng-yang (1473-1530), a leader of mid-Ming literary archaist movement, was invited in 1523 by the inspector of Henan Wang Zhen to write a preface for a reprint of the Intrigues of the Warring States that the latter intended to publish. Through a close reading of the preface and Li&rsquo;s other works, this paper argues that while Li seems to have, on the surface, taken a moral high round and castigated the Intrigues for deviating from the orthodox teachings of the Classics, he preface actually encourages the readers to approach the text from multiple perspectives. We have to situate the preface in the context of the rise of &ldquo;miscellaneous learnings&rdquo; and the &ldquo;learnings of the masters&rdquo; in the mid-Ming period in order to appreciate its significance in intellectual history. Departing from the ways the Neo-Confucians since the Song dynasty envisioned literati learning to be a focused pursuit of a grand and universal Way, intellectuals from the mid-Ming onwards began with an assumption of multiplicity and diversity and emphasized disparities among all things. The multiple perspectives that Li Meng-yang exhibits in his preface to the Intrigues is a good case for showing that mid-Ming intellectuals were more inclined to see the world as complex and diverse, rather than to pursue the ideal of universality.</p> <p>&nbsp;</p>


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 &amp;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 &amp;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 &amp; Jin Southern and Northern Dynasties, and Gui-Yi were gradually brought into immortal statues during painters’ artistic processing of that time.


Early China ◽  
2009 ◽  
Vol 32 ◽  
pp. 103-124 ◽  

What did the early Chinese medical body look like before it was inhabited by the five viscera and before canonical medical rationale was framed in terms of the five agents (wuxing 五行)? This article makes the case for a body with an outwardly visible ‘form’ (xing 形) that housed invisible qi 氣 internally. The qi contained in this body was not the universal qi and all-pervasive stuff that we encounter in later medical texts. Nor can it be limited to the ‘breath’ referred to in the context of meditation techniques, since the term referred also to a moral dimension, thoughts and feelings. In the body's upper spheres, qi took on yang 陽 qualities and was associated with feelings of grief or joy; in its lower ones, it took on yin 陰 qualities and was associated with anger. Since this body was primarily a function of emotional and moral aetiologies, it is in what follows called a ‘sentimental body’, and is contrasted with the canonical ‘body ecologic’ which was most importantly a function of the seasons.The textual material presented in this article suggests that the ‘sentimental body’ with its two yinyang spheres was an early Chinese medical body conception. From an extensive computer search that systematically compared passages on xing and qi in the Yellow Emperor's Inner Canon with texts in the early medical manuscripts from Mawangdui and Zhangjiashan, it emerged as a distinctive body. While the canonical ‘body ecologic’, framed in a pentic numerology, became prominent in medical reasoning during to the Han dynasty (206 B.C.E.–220 C.E.), the ‘sentimental body’, which alludes to yinyang cosmologies, dates to the Warring States period (475–221 B.C.E.).


2021 ◽  
Vol 24 ◽  
pp. 214-225
Author(s):  
Sertdemir İlknur

Ancient Chinese history holds a quality which has syncretized traditional thought with its cultural wealth unified of mystical and mythological figures in the background. Such that classical documents, which had begun to be written before Common Era, has directly influenced the political regime, education system and status of society in China. One of the most prominent features of these works is to propound collective knowledge about perception of cosmology, attitudes to earthiness, community standards, policy and morality. Among Five Classics works of these masterpieces of Chinese philosophy, Book of Changes which stands closest to metaphysical narrative, mainly consists of the texts about prophecy. While this piece of work had been referred as a divination guide in Western Zhou Dynasty (1046-771 BC), it turned into a cosmological text that included a range of philosophical commentary during Warring States Period (475-221 BC). The mainstay of this remarkable change is the direct correlation of all the concepts and terms that characterize the worldly beyond along with the relevant text, especially yin-yang dualism, which symbolizes an extraordinary harmony in early Chinese thought. Traditional idea suggests reciprocity in which heaven, earth and man are interconnected to maintain natural order. However, the superiority attributed to human beings also brings compulsive responsibilities to idealize a compatible society. This paper aims to discuss influences of cosmological and anthropological items on human behaviors explained in prescriptive perspective.


Author(s):  
Helena Y.W. Wu

By taking the Song Emperor’s Terrace as the main object of analysis, Chapter 4 takes a step into history. The Terrace was once a popular cultural icon, for that it was valorized as a rock that stood witness to the royal visit paid to Hong Kong by the last two Song emperors at the end of the Song Dynasty in the thirteenth century—because of this event, the terrace became an oft-cited chanting object among the émigré-literati who fled China to Hong Kong during the late nineteenth and early twentieth centuries. To vent frustration at the loss of their home(land), nostalgia for ancient (Imperial) China and adherence to virtues such as loyalty and filial piety, the Terrace became a place of gathering for these literati in everyday life and an object that frequently appeared in their creative works, ranging from verses, calligraphy to paintings. With an eye to the special bond between the émigré-literati and the rock and David Der-wei Wang’s notion of “post-loyalism”, this chapter challenges the presumed collectivity of this literati community by unfolding their varying political aspirations, worldviews and connections to “Hong Kong” through the relationships they constructed with the rock.


NAN Nü ◽  
2013 ◽  
Vol 15 (2) ◽  
pp. 179-218 ◽  
Author(s):  
Keith McMahon

“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.


Early China ◽  
1989 ◽  
Vol 14 ◽  
pp. 1-25 ◽  
Author(s):  
Hu Pingsheng

The Fuyang bamboo-strip “Annals” was compiled prior to 165 B.C., at least sixty or seventy years earlier than Sima Qian edited the various chronological tables in the Shiji. The “Annals,” which begins about the time of the Gong He interregnum of the Western Zhou and continues through the time of Qin Shi huangdi, seems to be incompatible with the “Qin Records” and was perhaps compiled using the “Historical Records” of some state other than Qin. It possibly includes two different types of tables: one in which years denominate the vertical columns and statenames the horizontal rows, with events recorded therein horizontally; and one that records the number of years that the feudal lords reigned. Although extensive damage makes it impossible to reconstitute the “Annals,” it can still provide useful information regarding some historical questions, such as the Warring States-period states of “East Zhou” and “West Zhou,” the appellations “Current King” and “Current Duke,” etc.


Author(s):  
Zhang Wenjing ◽  
Wang Xiaokun

In recent years, the Yushu Museum has conducted a systematic investigation on the rock art of the Tongtian River Basin in its prefecture and newly discovered 1230 panels’ rock art (more than 1700 images). This paper is a statistical and comparative analysis of the newly discovered rock art. According to content and production techniques, we divided the rock art of the Tongtian River Basin into two big areas. The West Area is the upper part of the river basin, which is the area above the confluence of Tongtian River and Chumar River (Qumalai River); the East Area is the lower part of the river basin, which is from the confluence to the Batang estuary of Yushu. This area can be subdivided into three subareas. The majority of the Tongtian River Basin’s rock art is categorized as animal type. Yak and deer are respectively the main themes of the West Area and the East Area. In addition, there are other rock art types like symbol, character, pagoda, carriage and so on. The two areas have both commonalities and their own characteristics. Through the typological analysis of production techniques, in the cases of carriage rock art, and deer rock art, we think that the rock art mainly used the whole-image chiseling technique. This technique can be traced back to the Shang Dynasty; the rock art mainly chiseled linearly is dated to the early Zhou Dynasty to the Warring States Period; the rock art that was creates with the line carving technique is dated to the Warring States Period to the Western Han Dynasty; the rock art that was creates with the grind carving technique can be dated back to the Qin and Han dynasties; and the rock art mainly used scratching technique can be traced back to the Ancient Tibetan Empire Period (618-842 AD)


2014 ◽  
Vol 41 (1-2) ◽  
pp. 130-147
Author(s):  
Bent Nielsen

This article investigates the original Chinese sources for two circular trigram arrangements that have played a crucial role in numerology associated with the Book of Changes (the Yijing 《易 經》) since the Song dynasty (960–1279). While attempting to clarify the nature and the origins of these and related diagrams, recent secondary literature on topic is reviewed, especially the influential articles by Schuyler Cammann.


Sign in / Sign up

Export Citation Format

Share Document