4. The Southern Song Dynasty (1127–1279)

2010 ◽  
pp. 77-100
Keyword(s):  
Song Dynasty ◽  
Southern Song Dynasty ◽  
Southern Song

scholarly journals Characterizing the sealing materials of the merchant ship Nanhai I of the Southern Song Dynasty

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Yihang Zhou ◽  
Kai Wang ◽  
Jian Sun ◽  
Yong Cui ◽  
Dongbo Hu
Keyword(s):  
Surface Coating ◽  
Song Dynasty ◽  
Weight Ratio ◽  
Tung Oil ◽  
Southern Song Dynasty ◽  
Southern Song ◽  
Merchant Ship ◽  
Main Components ◽  
Analytical Approaches ◽  
Sealing Materials

AbstractNanhai I is a highly valuable shipwreck of the Southern Song Dynasty for studying various topics, including the shipbuilding techniques. The sealing materials are of significant importance to ensure the ship’s reliability during the voyage across the ocean and they were rarely analyzed. Therefore, the sealing materials of this ship were analyzed by several analytical approaches. The sealing materials included two types, i.e., gap filler with jute fibers and surface coating without any oakum. The main components of both types of putty are calcite with minor Tung oil. The weight ratio of Ca(OH)2/Tung oil range from 4.3:1 to 7.9:1 for surface coating samples and the weight ratio of Ca(OH)2/organics is 3.1:1 for the gap filler sample. Additionally, we first find that the surface coating has a layered structure, where outer layers contain more Tung oil than inner layers. The innermost layer of the surface coating sample might be altered by organic acids from wood deterioration, causing its loose structure and grey color. The composite layers with different formula might be a result of balancing the costs and performances of the putty.

PIXE study on recovery of making-technology of Chinese Longquan celadon made in the Southern Song Dynasty (1127–1279 CE)

2019 ◽  
Vol 45 (3) ◽  
pp. 3081-3087 ◽  
Author(s):  
Bin Zhang ◽  
Meng Zhang ◽  
Yu Li ◽  
Huansheng Cheng ◽  
Jianming Zheng
Keyword(s):  
Song Dynasty ◽  
Southern Song Dynasty ◽  
Southern Song ◽  
Made In

scholarly journals The “Emperor’s Edict” and the Emperor’s power in the Southern Song Dynasty

2020 ◽  
Vol 4 (6) ◽  
Author(s):  
Zhenglong Qiang
Keyword(s):  
Song Dynasty ◽  
Early Years ◽  
The Political ◽  
Official Document ◽  
Southern Song Dynasty ◽  
Southern Song ◽  
Imperial Power

“Emperor’s Edict" refers to the writing of emperor himself. In the context of serving as official document, it refers to the special writ issued by emperor for sake of administering national affairs. In the official document system of Song Dynasty, "Emperor’s Edict" had always been an attention of the scholars and officials at that time due to its unusual functions in terms of drafting, promulgation and power. The Southern Song Dynasty was generally conceived by academic circles as a period when the "Administration by Emperor’s Edict" was gradually phased out. We did observe, however, with “Emperor’s Edict” placed in historical panorama of the early years of Southern Song Dynasty, an ever-strengthened power and prowess of “Emperor’s Edict” as backlit by several historical incidents such as Emperor Gaozong’s controlling and manipulating by “Emperor’s Edict” of the national armies. It reflects the political truth of strengthened imperial power in the Southern Song Dynasty. Hence, we can have access to another facet of the politics of the Southern Song Dynasty.

The Look and Logos of Zen Art

2017 ◽  
Author(s):  
Gregory P. A. Levine
Keyword(s):  
Song Dynasty ◽  
Southern Song Dynasty ◽  
Southern Song ◽  
The Arts ◽  
Muromachi Period ◽  
Art Historians ◽  
The Status ◽  
The 1950S ◽  
Contemporary Artist ◽  
The Look

What makes art “Zen” and Zen art “Art”? From where and when does it arise: Southern Song dynasty China (1127-1279), Muromachi period Japan (1333-1573), London in the 1920s, Manhattan or Japan in the 1950s and 1960s? How do we describe Zen art—including heirloom works such as Muqi Fachang’s Six Persimmons or the contemporary artist Murakami Takashi’s Daruma works—and why do we build description around particular religious terms, such as mushin, and seemingly timeless aesthetic qualities such as simplicity, spontaneity, abbreviation, monochromatic, abstraction, nothingness, and so forth? How do terms and sensibilities come to be normalized, and what sorts of Zen art might they exclude or repress, and why? What should we make of Hisamatsu Shin’ichi’s “Seven Characteristics of Zen art”? Why are the arts of Japan so often described as inherently or entirely informed by Zen? Beginning with writings from Zen campaigners and art historians in the 1920s, this chapter follows the lexical journey of Zen and Zen art, aesthetics to the present and suggests the discursive and ideological energies that propelled them toward the status of global “givens.”

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