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.

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.

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.

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.

scholarly journals The quasi-genderless heresy: The Dhūtaists and Master Jizhao

2004 ◽  
Vol 67 (3) ◽  
pp. 349-368 ◽  
Author(s):  
VALENTINA BORETTI
Keyword(s):  
Gender Roles ◽  
Fourteenth Century ◽  
Yuan Dynasty ◽  
Chan Buddhism ◽  
Jin Dynasty ◽  
The Yuan Dynasty

This paper looks at the professional alternatives that Buddhism offered to women by analysing the important role played by a female master in the as yet little studied Dhūta movement, a form of ‘heretical’ Chan Buddhism that flourished during the final years of the Jin dynasty and afterwards in the Yuan dynasty. By examining the descriptions of female master Jizhao and male master Puguang, as seen in epitaphs composed by officers-literati and preserved in a Bejing gazetteer dating back to the mid-fourteenth century, this paper aims to highlight some features of the Dhūtaists' discourse of femininity and also to point out the differences vis-à-vis orthodox Chan constructs, in order finally to evaluate whether such a discourse could have an influence on the general definitions and content of gender roles.

Core Texts of the Sŏn Approach

2020 ◽  
Author(s):  
Jeffrey Broughton
Keyword(s):  
Twentieth Century ◽  
Song Dynasty ◽  
East Asian ◽  
Zen Buddhism ◽  
The West ◽  
Mental Operation ◽  
The Song Dynasty ◽  
Asian History ◽  
Partial Translation

The book is a study and partial translation of Core Texts of the Sŏn Approach (Sŏnmun ch’waryo), a Korean anthology of key texts foundational to Korean Sŏn (Chan/Zen) Buddhism. This anthology provides a convenient entrée to two fundamental themes of Korean Sŏn: Sŏn vis-à-vis the doctrinal teachings (in which Sŏn is shown to be superior); and the huatou (Korean hwadu) method of practice-work popularized by the Song dynasty Chan master Dahui Zonggao (1089–1163). This method consists of “lifting to awareness” or “keeping an eye on” the huatou or phrase, usually the word wu無‎/No (Korean mu). No mental operation whatsoever is to be performed upon the huatou. The practitioner simply lifts the huatou to awareness constantly, twenty-four hours a day. Core Texts of the Sŏn Approach, which was published in Korea during the first decade of the twentieth century, attempts to encapsulate the entire Korean Sŏn tradition in one convenient volume (and thus functions as a sort of vade mecum). It contains eight Chan texts by Chinese authors and seven Sŏn texts by Korean authors, showing the organic relationship between the parent Chinese Chan tradition and its heir Korean Sŏn. Due to the circumstances of modern East Asian history, Korean Sŏn is much less well-known in the West than Japanese Zen. This book will give readers access to a broad sweep of texts of the Korean branch of this school of East Asian Buddhism.

WOMEN OF PROPERTY IN CHINA, 960–1368: A SURVEY OF THE SCHOLARSHIP

2004 ◽  
Vol 1 (2) ◽  
pp. 201-222 ◽  
Author(s):  
Joseph P. McDermott
Keyword(s):  
Property Rights ◽  
Fourteenth Century ◽  
Song Dynasty ◽  
Turning Point ◽  
Recent Book ◽  
Social Dimensions ◽  
The West ◽  
The Song Dynasty ◽  
Length Analysis ◽  
And Control

The issue of women's property rights during the Song dynasty has been heatedly debated for over half a century. First in Japan, and then in China, Taiwan and the West, scholars have developed strikingly divergent views of the legal and social dimensions of Song women's claims to property and control over their remarriage as widows. This article discusses and assesses the different views, particularly those of Bettine Birge in her recent book-length analysis of the topic. In siding largely with earlier studies that stressed Song women's legally backed rights to property as daughters, wives and widows, Birge's work provides the most comprehensive and persuasive treatment of this debate in any language. In addition, she discusses the fate of Chinese widows, accustomed to remarrying under favourable terms in the Song, and then suffering during the Yuan serious restrictions on their options for remarriage as well as on their property rights. The turning point, according to this book, was the merger of Mongol government and neo-Confucian court interests in the late thirteenth and early fourteenth century, thereby depriving women of many powers they had acquired in the Song.

A Western Organ in Medieval China I. The Chinese Texts

1926 ◽  
Vol 58 (2) ◽  
pp. 193-211
Author(s):  
A. C. Moule
Keyword(s):  
Fourteenth Century ◽  
Thirteenth Century ◽  
Yuan Dynasty ◽  
The West ◽  
Medieval China ◽  
Chinese Texts ◽  
The Yuan Dynasty

It is well known that the Chinese have had a little organ calledshêngoryüfor many ages, made with bamboo pipes which are fitted with free reeds, and played by suction. The wordsshêngandhuang, the reed, occur in theOdeswhich date from before 500b.c., and are traditionally explained as referring to an instrument like that which is still in use. But attention has not, I think, been called to the fact that a reed organ from the West was brought to China in the thirteenth century, and created so much interest at the time that it was reconstructed to play the Chinese scale. Ten or twelve of these instruments seem to have been made and to have been used in the Imperial orchestra during the Yüan dynasty (1280–1368), but I cannot find that they were used after that period. Three descriptions of theHsing lung shêng, as the organ was named, have been found in books of the fourteenth century, and translations of these are here given, with explanatory notes very kindly contributed by the Reverend Canon F. W. Galpin.

scholarly journals A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty

2021 ◽  
Vol 3 (2) ◽  
pp. 5
Author(s):  
Yang Song
Keyword(s):  
Song Dynasty ◽  
Yuan Dynasty ◽  
Chinese History ◽  
Artistic Style ◽  
The Status ◽  
External Causes ◽  
And Function ◽  
The Yuan Dynasty ◽  
First Time ◽  
Zhao Mengfu

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore,  studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji,  It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

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