scholarly journals 陸德明《經典釋文．序錄》所反映的經學觀念

2019 ◽  
Vol 33 (33) ◽  
pp. 029-060
Author(s):  
林保全 林保全
Keyword(s):  
Tang Dynasty ◽  
Six Dynasties ◽  
History Of ◽  
Research Findings ◽  
The Tang Dynasty ◽  
The Way

<p>本篇論文旨在藉由《經典釋文．序錄》，考察陸德明如何對秦漢以來的經學流衍提出梳理原則，從而析釐出〈序錄〉中的經學觀念。</p> <p>首先，陸德明針對了經典的範圍重新定義，以「經典」一詞命名，回應經典範圍逐漸擴大的經學議題。其次，提出自己判斷經典次第的標準，回應經學史上經典次第的安排議題。第三，提出具體的選擇標準，用以選擇今、古文的底本。第四，利用音注與義注選取的偏重，回應先秦以來掌握經典旨意的入手次第。</p> <p>&nbsp;</p><p>This paper seeks to investigate the way Lu De-Ming compiled Jingdian Shiwen (Textual Explanations of Classics and Canons) in the Tang Dynasty. On a more specific basis, how did he systematically collate various issues concerning the history of the study of Confucian classics since the Qin, Han and Six Dynasties in Jingdian Shiwen, and thereby presented integrated and unified research findings? </p> <p>The general principles and methods that Lu applied to accomplishing this monumental task include: (1) redefine the scope of classics; (2) establish the criteria for ordering the classics; (3) transcend the dichotomy between archaic scripts and new-text Confucianism; and (4) grasp the connotation and significance of classics by correcting the pronunciation of the keywords in annotated classics.</p> <p>&nbsp;</p>

Origins

2020 ◽  
pp. 12-49
Author(s):  
David Damrosch
Keyword(s):  
Comparative Literature ◽  
Literary History ◽  
Tang Dynasty ◽  
Arab World ◽  
History Of ◽  
The Tang Dynasty ◽  
China And Japan ◽  
Renaissance Italy ◽  
Comparative Philology

This chapter explains how the history of comparative literature is a history of archives, such as of libraries and collections that are either preserved or lost and studied or forgotten. It mentions the first library that was established by the Tang Dynasty monk Xuanzang when he returned from his epochal journey to the western regions in order to collect Buddhist manuscripts. It also talks about the foundations of comparative literature that were established by the comparative philology that began in Renaissance Italy and spread to many parts of Enlightenment Europe. The chapter looks at Max Koch who wrote about comparative literary history and how it gained a sure footing with the inclusion of Oriental material. It also analyzes non-Eurocentric comparatism that draws on philological traditions from China and Japan to the Arab world.

For Heaven's Sake: Tian in Daoist Religious Thought

2016 ◽  
Vol 8 (1) ◽  
pp. 163-186
Author(s):  
Ronnie Littlejohn
Keyword(s):  
Tang Dynasty ◽  
Six Dynasties ◽  
Religious Thought ◽  
The Face ◽  
The Tang Dynasty

This essay is an overview of the role of Heaven in Daoist religious thought prior to the Tang Dynasty. Lao-Zhuang teachings portray Heaven as helper of the perfected person, who has parted with the human and thereby evinces a heavenly light. The Huainanzi compares possessing Heaven’s Heart to leaning on an unbudgeable pillar and drawing on an inexhaustible storehouse, enabling one to shed mere humanity as a snake discards its skin. The Heguanzi homologizes Heaven and Taiyi and by the Six Dynasties period some Daoist canonical sources give the face of Laojun to Heaven/Taiyi, increasing the anthropomorphization of Heaven.

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.

The Pathway from Negatives to Question Particles

2007 ◽  
Vol 1 (2) ◽  
pp. 23-57 ◽  
Author(s):  
Pei-chuan WEI
Keyword(s):  
Tang Dynasty ◽  
Han Dynasty ◽  
Dynamic Interaction ◽  
The Other ◽  
Negative Part ◽  
The Tang Dynasty ◽  
Chinese Dialects ◽  
The Way

There is a great number of question particles in Chinese dialects that can be traced back to the negatives bu 不 and wu 無, which appeared in the negative part of A-not-A questions before turning into question particles. It remains debatable when and how this change occurred. We pinpoint the time when these two negatives changed into question particles according to several criteria in this paper. The time when bu became used as a question particle can be roughly dated to the Later Han dynasty and that of wu to the Tang dynasty, and the characters for these two words were then replaced by others. The interaction between bu and wu in history draws a picture of dynamic interaction. Some dialects show an extension from bu to wu, and some the other way round; the former is predominant in Middle Chinese, and the latter after the Tang dynasty. The way that bu changed into a question particle appears different from wu, which can be depicted as follows: The negative bu might have been seen as equivalent to the question particles hu 乎 and ye 耶 by holding a position identical to these two particles, which lost their function of interrogation and, as a result, were supplanted by bu subsequently. As a negative, wu is not only parallel with bu in syntactic behaviors, but also overlaps with the latter in the history, which made wu turn into a question particle after bu had done so.

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.

Chinese Aesthetics

2020 ◽  
pp. 26-72
Keyword(s):  
Tang Dynasty ◽  
Han Dynasty ◽  
Five Dynasties ◽  
Artistic Conception ◽  
Chinese Aesthetics ◽  
History Of ◽  
The Tang Dynasty ◽  
Basic Ideas ◽  
The Ancient Chinese ◽  
Southern And Northern Dynasties

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.

scholarly journals Interpreters and the Writing of History in China

2009 ◽  
Vol 54 (2) ◽  
pp. 201-217 ◽  
Author(s):  
Rachel Lung
Keyword(s):  
Tang Dynasty ◽  
Primary Sources ◽  
Historical Records ◽  
Ancient China ◽  
Historical Texts ◽  
History Of ◽  
The Tang Dynasty ◽  
Liang Dynasty ◽  
Historical Accounts ◽  
Made In

Abstract This article argues that interpreters are crucial figures in the recording of history. Evidence taken from historical texts in ancient China is used to verify the claim that interpreters’ notes might have been used as a reference in composing historical records. By documenting the Tang dynasty (AD 618-907) policy to have interpreters interview foreign envoys and submit the relevant accounts to the Bureau of Historiography, this article provides background for the link between interpreters’ interview notes and history compilation in China. Evidence is further drawn from the history of the Sui dynasty (AD 581-618), whereby an interpreter’s mediated account of the emperor’s conversation with a Japanese envoy was directly adapted. Most interestingly, pictorial and written documents of foreign peoples made in the mid-6th century during the Liang dynasty (AD 502-557) were found to be very similar to the written accounts about these foreign peoples in Liangshu, the history of the Liang dynasty, completed in the early 7th century. Apparently, there is a solid link between the interview accounts and historical accounts about foreign peoples in China. Thus, there is a strong possibility that interpreters’ notes, in the form of reports, provide important, if not primary, sources for history compilation in China.

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