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Zeitschriftenartikel zum Thema „Bronze drum“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Juli 2024

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1

Luo, Jiayin, und Yi Gu. „Analysis of the Artistic Characteristics of Type III Large Bronze Drums in Guangxi“. International Journal of Social Sciences and Public Administration 2, Nr. 3 (17.04.2024): 57–66. http://dx.doi.org/10.62051/ijsspa.v2n3.07.

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In Guangxi, three types of bronze drums have been categorized based on the nomenclature of standard instruments named after their places of discovery: the Lengshuichong type, the Beiliu type, and the Lingshan type. This period also marks the zenith of bronze drum development, often referred to as the era of divine and significant instruments. An analysis of the artistic characteristics of these three types of large bronze drums from Guangxi offers insights into the ancient primitive beliefs of the Zhuang and Dong ethnic groups' ancestors. Through the examination of the decorations and shapes of these three types of large bronze drums, one can appreciate the aesthetic beauty of the changing shapes of the drums and the aesthetic connotations of the bronze drum culture, which embody the concepts of meaning, imagery, auspiciousness, and beauty. This includes the devout beliefs in worshipping heaven and earth through bronze drums, the connection between humans and nature, and the cosmological understanding of the universe.

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2

Liu, Jinxi, und Arsenio Nicolas. „Educational and Literacy Perspectives about Bronze Drums in Southwest China for Contemporary Learning Resources“. International Journal of Education and Literacy Studies 12, Nr. 1 (27.01.2024): 245–51. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.245.

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Bronze drums, esteemed artifacts saturated in cultural significance, have been integral to the heritage of ethnic communities in Southwest China for centuries. This study aims to investigate the educational and literacy perspectives regarding bronze drums in contemporary learning resources within the region. Conducting fieldwork in Guangxi, Guizhou, and Yunnan – renowned for their rich bronze drum culture we engaged six key informants selected for their cultural proficiency and educational involvement. Interviews and documentaries were used to gather first-hand information about the cultural significance of bronze drums, how they were categorized by gender, and how they changed from being passed down orally to being written down formally. Findings highlight bronze drums as invaluable resources for contemporary education, emphasizing their role in cultural preservation and literacy development. This research encourages the utilization of cultural traditions as effective tools for education and heritage preservation, ensuring the continued relevance of Southwest China’s unique heritage in a rapidly evolving world.

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3

Pham, Manh Duc. „Dong Son Imprints in the South of Vietnam (research summary)“. Science and Technology Development Journal 17, Nr. 4 (31.12.2014): 13–35. http://dx.doi.org/10.32508/stdj.v17i4.1562.

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In the paper, the author reviews the most recent important archaeological discoveries with Dong Son bronze drums (Heger I) found from Highlands (Kontum, Gia Lai, DakLak, Lam Dong provinces), Southern Part of Central Vietnam (Quang Nam, Quang Ngai, Binh Dinh, Phu Yen, Khanh Hoa provinces) and Southern Vietnam (Binh Dương, Binh Phuoc, Ba Ria-Vung Tau, Ben Tre, Kien Giang provinces). The author points out “key sites” in the South Vietnam – the typical sites and artifacts most lively showing “the convergance of Indigenous - Exogenous culture” in ancient villages, workshops for metallurgy, cemeteries, treasures, etc., which are related to the Dong Son and other inhabitants of the protohistorical epoch in Vietnam and Southeast Asia and beyond. There are Cemeteries or Tresors which contained Bronze Dong Son drums (Heger I type), bronze halberds (Ko), Western Han mirrors, Indian Nephrite or Glass and Golden Ornaments – artifacts not only representing the multi-linear relationship of the owners of Southern Vietnam with other Asian centres, but also were considered to be the symbol of power, authority, potential of military and polical function, social ranks and they reflected the unpeaceful situation of the contemporary society. The author emphasizes the very appearance of these Dongson drums as shown with 2 subtypes of Bronze Drum Collections: Original Dong Son (Heger I) Bronze Drum Collection and Imitative Bronze Drum Collection which was created according to "Dongsonian Style" thousands of years ago. The author emphasizes the very early appearance of the “exogenous” elements of culture-technique-art-religion in Southern Vietnam, which were adapted or completely modified to match the knowledge and psychology, aesthetic needs, and “Indigenous” beliefs – especially clear in traditional funeral concept thousands of years ago, as shown with distinction in “chiefdom cemetery”. Finallly, the author generalized data related to Bronze metallurgy at the Southern Vietnam area and came to some following remarks: 1/ Nam Bo - Vietnam was the early centre of Bronze Metallurgy at the Mainland Asia in the Proto-history, with the technology of casting in sandstone moulds. 2/ This Bronze casting industry together with its copper and alloy materials probably came from “Native land of Dong Son culture” – the “Bronze Triangle” or “Bronze Quadrilateral”: Dong Son – Yunnan – Guangxi – Guangdong – Khorat. Through various ways: directly via the East Sea to the South of Vietnam or indirectly through roads – via Sa Huynh cultural area and Tay Nguyen (Highlands) along the Mekong River to the South of Vietnam in the end. 3/ However, the southern metallurgy had their “own features” that were considered “non-Dong Son” by the author. The big and sophisticated bronze products such as Dong Son drums (Heger I type) or Chinese halberd (Ko or halberd), Art figurines such as statues of a pangolin (Manis javanica) or Amulets, statues depicting a dog chasing another animal, etc. only appeared in the Early Iron Age. Apart from some exotic intact goods such as Dong Son drums from Son Tinh, Daglao, Ben Tre, Bu Dang etc. and Western Han mirrors from Binh Yen, Go Dua, Phu Chanh, Kem Nac, most of the bronze products in the Early Iron Age in the South of Vietnam were cast on site, with their own characteristics that were “non-Dong Son” and “non-Chinese”. 4/ According to the author, the large bronze object like Dong Son – styled drums or “Ko” appeared a lot here to the regalia expressing power of the Bigmen (the leaders) in the early historical period in the South of Vietnam and they were just replaced in the early Christian Era under the influence of Indian civilization – process by which French scholars call “Hinduism” and “Buddhism”.

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4

Spennemann, Dirk H. R. „Evolution of southeast Asian kettle-drums“. Antiquity 61, Nr. 231 (März 1987): 71–75. http://dx.doi.org/10.1017/s0003598x00072537.

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As any parent knows, a metal saucepan turned upside down makes an admirable drum. This simple observation has implications for the evolution of one of the more splendid kinds of ancient bronze artefact.

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5

Mcconnell, J. „Preliminary report on a newly found bronze drum from Bali, Indonesia“. Indonesia Circle. School of Oriental & African Studies. Newsletter 14, Nr. 40 (Juni 1986): 17–31. http://dx.doi.org/10.1080/03062848608729637.

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6

Jusoh, Adnan, Zuliskandar Ramli und Nik Hassan Shuhaimi Nik Abdul Rahman. „Bronze Drum in Selangor (Malaysia): The Motif and Significance from Archaeological Perspective“. Research Journal of Applied Sciences, Engineering and Technology 8, Nr. 7 (20.08.2014): 863–70. http://dx.doi.org/10.19026/rjaset.8.1046.

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7

김인규. „A Study on the Origin and Development of the Southeast Asia Bronze Drum“. Journal of North-east Asian Cultures 1, Nr. 27 (Juni 2011): 427–40. http://dx.doi.org/10.17949/jneac.1.27.201106.025.

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8

YE, Shaofei, und Dinh Khac Thuan. „Study on Inscritions on the Bronze Drum of Dong Son Discovered at Vietnam“. Journal of Chinese Characters 14 (30.04.2016): 179–97. http://dx.doi.org/10.14772/cscck.2016.14.179.

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9

Wijaya, Hanny. „Nekara: Peninggalan Seni Budaya dari Zaman Perunggu“. Humaniora 4, Nr. 1 (30.04.2013): 212. http://dx.doi.org/10.21512/humaniora.v4i1.3431.

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Cultural development nowadays could not be separated with the cultural development from the past. Dong Son culture, which was developed in Vietnam area, had given a big influence to cultural development in Asian regions during the Bronze Age. One of the great heritages from Dong Son culture was a Dong Son drum or was known as Nekara in Indonesian region. Nekara which forms like a drum has many functions that based on culture and tradition from each area. The main function of Nekara was generally as a music instrument for festivals or cultural events, such as prayers for rain, good harvest, funeral, wedding ceremony, etc. Moreover, in some specific regions, nekara had also been used as a mausoleum to keep the corpse or dead body for funeral, it was also had a function as a symbol of power for tribe leaders. The motifs on drums or nekara also had a symbolic meaning or a specific representation based on its function.Article presents the knowledge on the background and function of nekara more specific and readers will know more details about Dong Son culture and its unique heritage, i.e. Nekara.

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Noriko, Nishino. „An Introduction to Dr. Nishimura Masanari’s Research on the Lung Khe Citadel“. Asian Review of World Histories 5, Nr. 2 (04.10.2017): 11–27. http://dx.doi.org/10.1163/22879811-12340003.

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Abstract This paper introduces Nishimura Masanari’s research on the Lung Khe Citadel, which was built in the second century ce and continuously occupied until the end of the fifth or early sixth century. Nishimura explored four main topics. First, based on the large-scale bronze workshop in the citadel, he argued that the casting of the bronze drum there had a political purpose. Second, he proved that the Lung Khe Citadel was Long Bien, not Luy Lau. Third, he discovered several types of artifacts, including a table-shaped stone mortar (pesani) and kendi that show cultural affinity with artifacts found in Tra Kieu and Oc Eo. Hence, the cross-regional Nanhai trade and political power at Lung Khe might have reciprocally stimulated each other. Finally, Nishimura advanced the far-reaching hypothesis that the prosperity of Chinese Buddhism might have stemmed from the Lung Khe area, on the basis of his study of roof tile ends with mask or lotus petal motifs.

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Hang, ZHANG, Wang Ting, FENG Xiaohui, WEI Yiping und ZHANG Jijia. „Effect of bronze drum training on rhythm perception and executive function of Zhuang drummers“. Acta Psychologica Sinica 55, Nr. 11 (2023): 1762. http://dx.doi.org/10.3724/sp.j.1041.2023.01762.

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12

Chen, Yanjun, und Jongki Kim. „The Visual Expression of Bronze Drum Decoration from the Perspective of Chinese Zhuang Nationality’s Creation Culture“. Journal of Humanities and Social sciences 21 12, Nr. 4 (31.08.2021): 569–80. http://dx.doi.org/10.22143/hss21.12.4.42.

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13

Chang, Yufen. „Constructing Vietnam, Constructing China“. Journal of Vietnamese Studies 16, Nr. 1 (2021): 90–131. http://dx.doi.org/10.1525/vs.2021.16.1.90.

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Vietnamese studies in China is a contentious field that is dominated by three frameworks: the central-regional relationship, the tributary relationship, and the diffusion thesis. It emerged in the late nineteenth century in response to French scholars’ questioning of the extent and duration of Chinese influence on Vietnam. It then became highly politicized between the 1970s and 1980s due to the issues of both the ethnic origins of the bronze drum and the nature of Sino-Vietnamese relations. In the twenty-first century, even though China began to address the issue of Sinocentrism, its claim to the South China Sea has been a source of great tension among the scholars in the two communist countries.

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Subagia, I. Nyoman. „Nekara Pejeng as A Learning Resources of Education Hindu Religion“. Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 4, Nr. 1 (30.05.2020): 68. http://dx.doi.org/10.25078/ijhsrs.v4i1.1367.

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<p>Nekara Bronze in Pejeng, has a uniqueness that is still trusted by the surrounding community until now, where the Nekara Bronze is believed to be a drum to call rain. However, not all are aware of, understand the message or meaning of the Nekara Pejeng. The main problem of this research is to review Nekara Pejeng as a source of learning for Hindu religious education. The purpose of writing covers the history of Nekara Pejeng, and Nekara Pejeng as a source of learning for Hindu religious education. Data collection methods used were active participation observation techniques, in-depth interviews and document studies. The data collected is processed with qualitative descriptive techniques to see certain dimensions of the aspects being measured. The results of the analysis show that, students can observe diverse facts up close about the existence of Nekara Pejeng, students can experience new experiences by participating in an activity, students can answer problems or questions by seeing, listening, try, and prove firsthand. In conclusion, Nekara Pejeng as a source of learning has many advantages; learning becomes more meaningful and real. This means that students are required to be able to capture the relationship between learning experiences on campus with real life.</p><br /><p><em> </em></p>

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Han, Xiaorong. „Who Invented the Bronze Drum? Nationalism, Politics, and a Sino-Vietnamese Archaeological Debate of the 1970s and 1980s“. Asian Perspectives 43, Nr. 1 (2004): 7–33. http://dx.doi.org/10.1353/asi.2004.0004.

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Brindley, Erica Fox. „The People Between the Rivers: The Rise and Fall of a Bronze Drum Culture, 200–750 CE by Catherine Churchman“. Asian Perspectives 57, Nr. 1 (2018): 179–81. http://dx.doi.org/10.1353/asi.2018.0007.

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Setiawan, Ida Bagus Putra. „The Agrarian Tale of Kenderan Village: Sarcophagus, a Magical Priest, and Farming Sciences“. Bali Tourism Journal 5, Nr. 2 (10.08.2021): 41–44. http://dx.doi.org/10.36675/btj.v5i2.60.

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In discussing Bali’s agricultural history development, the name of Kenderan village would occasionally appear. It is one of many villages that inherited subak tradition from ancient times. The town, located in Tegalalang district, Gianyar, has witnessed the growth of farming customs on the island of the gods. The people of the kenderan village have been an agricultural society since the megalithic period around 4500–1500 BC. It is proved by the Sarcophagus around the village and the bronze nekara printing similar to Nekara in Pejeng. These remnants signed that there was a settlement with high cultural society. Nekara was used as a drum to summon rain related to agricultural practice. Further, after Padanda Sakti Manuaba’s arrival, the society was introduced to a water reservoir system, dam, and rituals needed to support the farm’s sustainability. The community keeps the tradition and rituals as part of their identity up to the moment. Every year, through a distinctive ritual, ‘nyawang,’ they express their gratitude to God for a long, lush, fertile and prosperous life.

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RAKA, Anak Agung Gede, I. Made MARDIKA, Ni Made WAHYUNI und Anak Agung Istri Manik WARMADEWI. „Chinese Ancient Coin - Uang kepeng: A Strengthener of Bali and China Relationship“. Journal of Environmental Management and Tourism 11, Nr. 2 (28.04.2020): 271. http://dx.doi.org/10.14505//jemt.v11.2(42).05.

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Relations between Bali and China have been established since the Han Dynasty around 100 BC. This opinion was strengthened by the discovery of nekara, a bronze kettle drum, in Pejeng, Gianyar. The relationship between Bali and China is a trade relation in which Bali was written in the notes of Chinese traders who came to Southeast Asia in the 5th century. One of the legacies of Chinese trade in Bali is the uang kepeng (ancient Chinese coin) which was used as a means of a transaction at that time. The existence of uang kepeng in Bali is very interesting to discuss because of the transformation of its function. Previously uang kepeng functioned as a tool for trading transactions transformed into a means of transactions in religious rituals. This research used the method of observation, literature study, and in-depth interviews to reveals the existence and role of uang kepeng or pis bolong in Bali. At present, uang kepeng has also become a craft commodity that has a role in tourism in Bali.

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Allard, Francis. „Review: The People Between the Rivers: The Rise and Fall of a Bronze Drum Culture, 200–750 CE by Catherine Churchman“. Journal of Vietnamese Studies 13, Nr. 3 (2018): 163–66. http://dx.doi.org/10.1525/vs.2018.13.3.163.

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Pirazzoli-t’Serstevens, Michèle. „The People between the Rivers: The Rise and Fall of a Bronze Drum Culture, 200-750 CE, written by Catherine Churchman, 2016“. T’oung Pao 103, Nr. 4-5 (30.11.2017): 477–81. http://dx.doi.org/10.1163/15685322-10345p07.

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21

Hua, Xia, und Gideon Shelach-Lavi. „Bronze Art, Cultural Norms, and Group Identity: A Group of Late Western Zhou and Early Spring and Autumn He Vessels Analyzed in Their Temporal and Spatial Contexts“. Asian Perspectives 63, Nr. 1 (2024): 70–97. http://dx.doi.org/10.1353/asi.2024.a923664.

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abstract: A new generation of scholars has called into question the homogeneous nature of Western Zhou culture and the sweeping imposition of this culture over a large region that covers much of present-day China. Our study contributes to this debate by focusing on a coherent group of bronze vessels dated to the end of the Western Zhou and beginning of the Spring and Autumn periods. He (盉) vessels with drum-shaped bodies, bird-like lids, and human-like legs are among the most unique and artistically innovative artifacts of this period. While these unique artifacts have been found in and near the center of the Western Zhou polity, they are not associated with the rituals of the royal house, but rather with those of other aristocratic lineages. We argue that the artistic style of the vessels was part of the culture developed around the royal Zhou house and in areas close to it, although it is not strictly representative of the royal culture of the Western Zhou, being instead associated with minor lineages. A multi-dimensional analysis of this group of vessels, addressing their geographical distribution, location within their archaeological context, and social associations, combined with an analysis of their decorative scheme and the inscriptions cast inside them, enables us to better understand the sociocultural landscape of this period. Our study suggests that diversity existed not only in remote border areas or among the lower strata of society, but also within the cultural core of the Western Zhou polity and among the highest echelons of the aristocracy. Such processes of diversification are associated with the development of local and regional identities and with the growth of the political independence of aristocratic lineages during the final years of the transition from the Western Zhou to the Spring and Autumn periods.

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Thompson, C. Michele. „The People Between the Rivers: The Rise and Fall of a Bronze Drum Culture, 200–750 CE. By Catherine Churchman . Lanham, Md.: Rowman & Littlefield, 2016. 266 pp. ISBN: 9781442258600 (cloth, also available as e-book).“ Journal of Asian Studies 76, Nr. 3 (31.07.2017): 825–26. http://dx.doi.org/10.1017/s0021911817000729.

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23

Nickerson, Laura M., und Thomas D. Rossing. „Acoustics of Karen bronze drums“. Journal of the Acoustical Society of America 106, Nr. 4 (Oktober 1999): 2254. http://dx.doi.org/10.1121/1.427683.

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24

G, Rawat. „Kharpara, a Forgotten Mineral Drug of Ayurveda: A Review“. Journal of Natural & Ayurvedic Medicine 6, Nr. 3 (05.07.2022): 1–12. http://dx.doi.org/10.23880/jonam-16000358.

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Introduction: Kharpara is an ore of (Yashada) Zinc. In Ayurveda, a description of Kharpara (ore) and Yashada (extracted metal from Kharpara) is also mentioned. Kharpara is a highly-negligible Rasa Dravya (Drug) in Ayurveda these days. Aim & Objective: To find the description and importance of Karpara in Metallurgy and Ayurveda. Also, determine the beginning era of extraction of Yashada from Karpara in ancient India. Data Source: classical text of Rasa Shastra & allied branches and various online and offline research journals on Ayurveda & Metallurgy. Review Method: Word “Karpara” and “Rasaka” are used to search all aspects, such as types of categorizations among Rasa Dravya, classification, pharmacological property, the process of Shodhana (Purification), Marana (Incineration), Satvapattana (Extraction) and Grahyaagrahyatva (Acceptable-non acceptable qualities) of Kharpara is mentioned in Rasa Shastra texts and Ancient Literature. Result and Conclusion: Discovery of Pittala (Brass) brings a revolution in the metal industry because it diminished the use of Kansya (Bronze). Pittala is an alloy of Copper and Zinc. But it is very difficult to answer which one is the real source of Zinc in Brass, either Kharpara or Zinc Metal. Kharpara is an indirect source of three Bhasmas i.e., Yashada, Pittala and Varta (Bronze) Thus, in this review study, every aspect of Kharpara is summarized such as the historic review, types, pharmacodynamic properties, pharmaceutical processing of Karpara Bhasma procedures, dose and formulations of Kharpara from different sources. The age of the beginning of Karpara used by Indians is not traceable.

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Liu, Jinxi, Arsenio Nicolas und Weerayut Seekhunlio. „Preservation and Transmission of Cultural Knowledge about Bronze Drums in Donglan County, Guangxi, China“. International Education Studies 17, Nr. 4 (18.07.2024): 32. http://dx.doi.org/10.5539/ies.v17n4p32.

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The preservation and transmission of cultural knowledge about bronze drums in Donglan County, Guangxi, China, is crucial for protecting a valuable cultural heritage that has been passed down through generations. In Guangxi, Guizhou, and Yunnan, several ethnic groups, such as the Zhuang, Buyi, Miao, and others, still include bronze drums in their cultural practices. These drums function as visible connections to ancient customs and are actively conserved through on-site visits and recordings of performances. Donglan County in Guangxi is crucial to this effort, as it has been officially designated as a national-level zone for the protection of both cultural and ecological resources starting in 2023. This project emphasizes the dedication to protecting intangible cultural resources, with cooperation between communities and educational institutions guaranteeing the transfer of this cultural knowledge to future generations through education. The clear differentiation between male and female bronze drums, as well as their specific acoustic characteristics, contributes to the cultural wealth of this heritage. This is preserved through cultural events and educational programs, ensuring its lasting importance for future generations.

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Lin, Jiajia, Nataporn Rattanachaiwong und Jing Li. „Exploring the Characteristics of the Musical Composition of Guangxi's Modern Piano Work "The Dance of the Bronze Drumn"“. Journal of Education, Humanities and Social Sciences 20 (07.09.2023): 247–54. http://dx.doi.org/10.54097/ehss.v20i.11508.

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"The Dance of the Bronze Drumn" is a piano work with Guangxi's national characteristics. The composer, Wu Liyun, is a teacher of the Composition Department of Guangxi Arts University. This work combines the ethnic characteristics of Guangxi Dong tones and modern compositional techniques, fully utilizes modern non-harmonic phonemes in the form of different rhythms and speeds, so that the piano timbre presents the image of different brass drums. This paper discusses the musical creation characteristics of the work as well as the piano playing techniques by analyzing the musical characteristics, compositional techniques and musical structure of the work.

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Pirazzoli-t'Serstevens, Michèle. „International Conference of Ancient Bronze Drums and Bronze Cultures in Southern China and Southeast Asia“. Arts asiatiques 44, Nr. 1 (1989): 134–36. http://dx.doi.org/10.3406/arasi.1989.1271.

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Wang, Zedong, Xiaoqi Xi, Lei Li, Zhicun Zhang, Yu Han, Xinguang Wang, Zhaoying Sun et al. „Tracking the Progression of the Simulated Bronze Disease—A Laboratory X-ray Microtomography Study“. Molecules 28, Nr. 13 (23.06.2023): 4933. http://dx.doi.org/10.3390/molecules28134933.

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The internal three-dimensional characteristics of X-ray microtomography (micro-CT) has great application potential in the field of bronze corrosion. This work presents a method of simulating bronze disease based on an in situ micro-CT image to study the characteristics of the oxidative hydrolysis reactions of copper(I) chloride and copper(II) chloride dihydrate. A series of high-resolution reconstruction images were obtained by carrying out micro-CT at three key points throughout the experiment. We found that the reactions of copper(I) chloride and copper(II) chloride dihydrate showed different characteristics at different stages of the simulation in the micro-CT view. The method proposed in this work specifically simulated one single type of bronze corrosion and characterized the evolution characteristics of simulated bronze disease. It provides a new perspective to investigate bronze disease and can help improve the subsequent use of micro-CT to distinguish real bronze corrosions.

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Komissarov, Sergei A., und Dmitry V. Cheremisin. „Petroglyphs that Have Become Extinct: Rock-Art of Makau“. Oriental Studies 19, Nr. 4 (2020): 116–23. http://dx.doi.org/10.25205/1818-7919-2020-19-4-116-123.

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The article represents petroglyphs of Macau (Aomen). This site with engravings was lost and gone forever (because of industrial pollution), but we have some copies and descriptions of it. Though it was quiet restricted in dimensions, but contained not only interlacement of lines and geometric figures, but also images of two big boats as well, with quiet developed construction: with upper deck, long bowsprit and, possibly, with portable mast. The same ships but engraved more clearly one can see in petroglyphs of Zhuhai at the site with rock-art closest to Macau. These ships seem to have some additional details such as side ports, helm and anchor. These observations confirm a high level in shipbuilding and navigation among peoples of Wu and Yue kingdoms known to us due to historical records. For petroglyphs of Eastern and Southern China we have another figurative line in order to compare with, i. e. engravings on bronze implements and, first of all, bronze drums. The war-boats engraved on drums have some similarities in construction with boats engraved on rocky surface. Due to these resemblance petroglyphs of Macau (and Zhuhai) could be attributed to Dongson-Dian civilization because bronze drums served as indicator for this super unity. On the basis of this resemblance we can previously date petroglyphs of Macau with the last ages BC or the first ages AD. The creators of rock-art galleries in the region of Zhujiang River estuary were very probably connected with migration of one of the Boyue tribes.

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[黄羽], Huang Yu. „A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts“. ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (04.12.2020): 1–16. http://dx.doi.org/10.30819/aemr.6-1.

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The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

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Rata, Della. „Sound And Celebration of Death: Gong Ensembles in The Secondary Mortuary Rituals of the Jarai (Central Vietnam) Compared with Those of the Dayak Benuaq (East Kalimantan, Indonesia). Do They Originate from the Dong Son Culture?“ International Journal of Creative and Arts Studies 3, Nr. 1 (29.12.2017): 1. http://dx.doi.org/10.24821/ijcas.v3i1.1830.

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The Jarai people are an Austronesian language speaking group living in Central Vietnam. They reached mainland Southeast Asia from Northern Borneo, or possibly from the Malay Peninsula, around the 5th century B.C. as part of the more general migratory movement that took the Austronesian people from Formosa to Madagascar, westwards, and to Easter Island, eastwards. The Pa thi ritual is one of the most remarkable of the many ceremonies celebrated by the Jarai, in terms of its magnificence and the complexity of the elements involved. Pa thi (the “tomb abandonment”) is a secondary mortuary ritual that allows the spirits of the dead to reach their final destination. When the ritual is held, the tomb, carefully decorated with symbolic elements, becomes the centre of a sumptuous feast, lasting three days, which includes gong music, dances and buffalo sacrifices. The aim of this paper is to analyse some features of the Pa thi ceremony and to compare them with some of the scenes depicted on the Dong Son bronze drums (Heger I type). In fact, as many scholars such as Goloubew (1929) and Bemet Kempers (1988) have pointed out, there is a connection between the people of Dong Son and “men who might be the more direct ancestors of the Indonesians we know from the archipelago”. As evidence of this connection, these scholars explicitly mentioned the culture of the Dayak people of Borneo and the mountain populations living in Central Vietnam. In addition to my analysis of the Jarai ritual, I will give a few comments on the Kwangkai, the secondary mortuary ritual of the Dayak Benuaq people (East Kalimantan, Indonesia). Rather than attempting to provide a definite analysis of the bronze drums, this paper intends to open some new perspectives for a better understanding of the scenes depicted on the bronze drums as well as giving an interpretation based on the comparison with living rituals.

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Sandu, Andrei Victor. „New Materials and Advanced Procedures of Obtaining and Processing—Applied Sciences Insights“. Applied Sciences 13, Nr. 5 (01.03.2023): 3153. http://dx.doi.org/10.3390/app13053153.

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The present editorial highlights the publications presented in the Special Issue of Applied Sciences: New Materials and Advanced Procedures of Obtaining and Processing. The collection of articles managed to gather high-quality articles from various fields of applied sciences, with topics ranging from supercapacitors to strength parameters, from drug delivery systems to facial reconstruction, and from a Bronze Age pottery study to archaeometric evaluation.

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Oliveira, Nuno Vasco, Sue O'Connor und Peter Bellwood. „Dong Son drums from Timor-Leste: prehistoric bronze artefacts in Island Southeast Asia“. Antiquity 93, Nr. 367 (Februar 2019): 163–80. http://dx.doi.org/10.15184/aqy.2018.177.

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Wei, Danfang, Danfeng Wei, Biao Ma und Yanqing Tian. „Research on the Inherited Casting Technique of Bronze Drums in China and Southeast Asia“. Journal of Engineering Studies 13, Nr. 02 (01.04.2021): 151–66. http://dx.doi.org/10.3724/sp.j.1224.2021.00151.

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Luo, Jiayin. „Research on the Natural Worship Ideology and Costume Innovation Based on Zhuang Bronze Drums“. Art and Design 6, Nr. 9 (2023): 231. http://dx.doi.org/10.31058/j.ad.2023.69026.

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Andaya, Leonard Yuzon. „The Social Value of Elephant Tusks and Bronze Drums among Certain Societies in Eastern Indonesia“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 172, Nr. 1 (01.01.2016): 66–89. http://dx.doi.org/10.1163/22134379-17201001.

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Zicheng, Peng, Li Xiaocen, Zhang Binglun, Li Zhichao, Li Kunsheng und Wan Fubin. „Lead isotope studies of metal sources for the earliest bronze drums in Yunnan Province, China“. Chinese Journal of Geochemistry 10, Nr. 4 (Oktober 1991): 357–62. http://dx.doi.org/10.1007/bf02841096.

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Apostol, Virgil. „A few indications on the architecture of Sarmizegetusa Regia“. CaieteARA. Arhitectură. Restaurare. Arheologie, Nr. 10 (2019): 55–88. http://dx.doi.org/10.47950/caieteara.2019.10.04.

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The archaeological research undertaken at Sarmizegetusa in time has indicated or discovered a number of plinths, drums and bases of andesite columns. Several reconstruction hypotheses are proposed for the architecture of the Great Andesite Temple, the Small Rectangular Temple and the Large Rectangular Temple, based on the analysis of these architectural elements preserved in situ, in a secondary position or reused in Roman buildings. In the end an important archaeological discovery in the area of Orăștie Mountains is presented, a bronze square with markings (lines and dots) preserved on its arms, which indicate precisely the measurement unit used at the Dacian monuments at Sarmizegetusa Regia.

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Kramov, N. „Suprarenal cortical extract against adrenal insufficiency (Addison's disease)“. Kazan medical journal 25, Nr. 11 (29.10.2021): 1232. http://dx.doi.org/10.17816/kazmj80511.

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Contrary to the generally accepted view that Addison's disease develops as a result of insufficient epinephrine secretion by the adrenal medulla Rogoff and Stewart (A. MA, 1929, 11 / V) see the cause of this disease in the insufficiency of the adrenal cortex. The product interrenalin isolated from this layer, which was used by the authors on dogs with removed adrenal glands and on patients with Addison's disease, gave extremely favorable results. Interrenaline was administered intravenously to dogs, per os in humans. The authors cite 7 case histories where, after the administration of this drug, the symptoms of Addison's disease improved or disappeared: blood pressure increased, bronze color disappeared, gastrointestinal disorders stopped and weakness disappeared, etc.

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Knorozova, Ekaterina Yu. „The image of the crane in vietnamese traditional culture“. Russian Journal of Vietnamese Studies 7, Nr. 2 S (16.06.2023): 136–45. http://dx.doi.org/10.54631/vs.2023.72-474680.

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The image of the crane (stork) is associated with the most ancient ideas, has spread among different peoples. This is one of the symbols of Vietnamese culture, the sacred bird Lak, whose images are present on the bronze drums, resembles a crane. In Vietnam, there are still sculptures in temples depicting a turtle with a Lac bird on its shell. The image of the crane was used by Buddhism. A lonely crane in Confucianism is a hint of a major dignitary dissatisfied with his fate, perhaps retired and therefore inclined to Taoism. Cranes (especially white ones) are considered to be the birds on which the Taoist immortals fly. Nguyen Trai's poems mention the yellow crane.

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Lu, Qiuyan, Guisen Zou, Yanxiang Li, Lin Zheng und Wei Wang. „Provenance study on ‘Big bronze drums’: a method to investigate the ancient bronze industry of Guangxi, Southwest China from Han to Tang dynasty (around 200 BC–900 AC)“. Journal of Cultural Heritage 44 (Juli 2020): 15–26. http://dx.doi.org/10.1016/j.culher.2020.02.002.

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Zhang, Xin’ge, und Julina Ismail@Kamal. „Research on the Decorative Patterns of the Bronze Drums (DPBD) in China: A Systematic Literature Review“. Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, Nr. 10 (31.10.2022): e001858. http://dx.doi.org/10.47405/mjssh.v7i10.1858.

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This study focuses on a systematic review of the research on the intangible cultural heritage of the decorative patterns of the bronze drums (DPBD) in China. The article attempts to answer two questions: first, the current status, trends, and unresolved issues of the research on the DPBD. Second, the current situation, trends and research gaps in the inheritance and development of the DPBD. It aims to identify and analyze the gaps to aid the inheritance and development of the DPBD culture in China and Southeast Asian countries. According to the PRISMA statement, forty-one articles were selected from six databases, including Web of Science (WOS), IEEExplore, Scopus, ScienceDirect, SpringerLink, and CNKI for exploration. According to the research results, the decoration relationship with the socio-culture of the people of ancient China is the main content of many scholars’ research, and some of the content is controversial. The classification methods of the DPBD tended to be consistent, and the research results on the variations of different types of the DPBD are relatively few. It has a significant gap. The categories of motifs represented on the DPBD need further empirical research. The study on the conservation and inheritance of Chinese DPBD proposes research on application methods and development strategies based on theoretical research on the DPBD. Most scholars believe that digital and new media fields positively affect the inheritance, dissemination, and development of the DPBD culture. Still there is a considerable gap in empirical research on the effectiveness of digital and new media.

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Xue, F., W. Zhang, G. Xu, Q. Zhou und Y. Wu. „SURFACE OR SKELETON? AUTOMATIC HIERARCHICAL CLUSTERING OF 3D POINT CLOUDS OF BRONZE FROG DRUMS FOR HERITAGE DIGITAL TWINS“. ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (23.06.2023): 293–99. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-293-2023.

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Abstract. In the era of digital twins, high-definition 3D point clouds of cultural relics, such as the bronze drums of ancient Southeast Asia and China, are increasingly available as digital heritage. This study applies an automatic hierarchical clustering method to compare and cluster 14 unstructured 3D models of frogs on drums based on the dissimilarity metric of the minimum error from 2,000 iterations of global registration. Furthermore, this study compares two forms of 3D presentation: surface points and 3D shape skeletons. The experimental results on 14 high-definition frogs showed that four groups – three-legged with baby, four-legged with baby, three-legged without baby, and four-legged without baby – were consistently (TPR = 0.857) detected, regardless of the 3D presentation using point clouds or shape skeletons. Both basic surface points and advanced shape skeleton effectively clustered 3D heritage details for heritage digital twins and advanced heritage documentation. The findings also imply that geospatial analytics using either surface 3D point clouds or skeleton can shed light on unsupervised learning and quantitative understanding of unstructured point clouds of numerous cultural heritages.

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Kirsanova, Maria A., Alexey S. Akmaev, Mikhail V. Gorbunov, Daria Mikhailova und Artem M. Abakumov. „Sodium-Vanadium Bronze Na9V14O35: An Electrode Material for Na-Ion Batteries“. Molecules 27, Nr. 1 (24.12.2021): 86. http://dx.doi.org/10.3390/molecules27010086.

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Na9V14O35 (η-NaxV2O5) has been synthesized via solid-state reaction in an evacuated sealed silica ampoule and tested as electroactive material for Na-ion batteries. According to powder X-ray diffraction, electron diffraction and atomic resolution scanning transmission electron microscopy, Na9V14O35 adopts a monoclinic structure consisting of layers of corner- and edge-sharing VO5 tetragonal pyramids and VO4 tetrahedra with Na cations positioned between the layers, and can be considered as sodium vanadium(IV,V) oxovanadate Na9V104.1+O19(V5+O4)4. Behavior of Na9V14O35 as a positive and negative electrode in Na half-cells was investigated by galvanostatic cycling against metallic Na, synchrotron powder X-ray diffraction and electron energy loss spectroscopy. Being charged to 4.6 V vs. Na+/Na, almost 3 Na can be extracted per Na9V14O35 formula, resulting in electrochemical capacity of ~60 mAh g−1. Upon discharge below 1 V, Na9V14O35 uptakes sodium up to Na:V = 1:1 ratio that is accompanied by drastic elongation of the separation between the layers of the VO4 tetrahedra and VO5 tetragonal pyramids and volume increase of about 31%. Below 0.25 V, the ordered layered Na9V14O35 structure transforms into a rock-salt type disordered structure and ultimately into amorphous products of a conversion reaction at 0.1 V. The discharge capacity of 490 mAh g−1 delivered at first cycle due to the conversion reaction fades with the number of charge-discharge cycles.

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Pryce, Thomas Oliver, und Bérénice Bellina. „High-tin bronze bowls and copper drums: Non-ferrous archaeometallurgical evidence for Khao Sek's involvement and role in regional exchange systems“. Archaeological Research in Asia 13 (März 2018): 50–58. http://dx.doi.org/10.1016/j.ara.2017.07.002.

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Ha, Suong Thi. „The collection of Cu Lao Cham shipweck at the Museum of History - Culture“. Science and Technology Development Journal 17, Nr. 2 (30.06.2014): 75–82. http://dx.doi.org/10.32508/stdj.v17i2.1326.

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Building the collections of artifacts is a professional work in order to strengthen the warehouse of a museum, which is one of the most important missions of museums. An original collection of artifacts constructed will help us easily manage them in both quantity and quality to serve scientific research, educational and informational exhibitions of the museum. The collections are the pride and the measure of the value of each museum. Since set up, the Museum of History-Culture in the University of Social Sciences and Humanities, Vietnam National University-Ho Chi Minh City always focuses on collection building. From the project “Invest for building artifact collections, improve research ability of the Museum of History-Culture", the museum has successfully built many collections such as Chu Dau ceramics collection, Dong son bronze drums collection, Binh Duong ceramics, artifact collections of ethnic groups in the North of Vietnam, etc. Among those valuable collections, Chu Dau ceramics collection is considered as one of the most valuable collections. This collection has 39 ceramic objects dated from the 15th Century belonging to Chu Dau ceramics found from ancient Cu Lao Cham shipwreck.

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Liu, Jing, Yong Liu, Tengfei Li, Longlong Liang, Sifan Wen, Yue Zhang, Guilong Liu, Fengzhang Ren und Guangxin Wang. „Efficient Regulation of Polysulfides by Anatase/Bronze TiO2 Heterostructure/Polypyrrole Composites for High-Performance Lithium-Sulfur Batteries“. Molecules 28, Nr. 11 (23.05.2023): 4286. http://dx.doi.org/10.3390/molecules28114286.

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Despite having ultra-high theoretical specific capacity and theoretical energy density, lithium-sulfur (Li-S) batteries suffer from their low Coulombic efficiency and poor lifespan, and the commercial application of Li-S batteries is seriously hampered by the severe “shuttle effect” of lithium polysulfides (LiPSs) and the large volume expansion ratio of the sulfur electrode during cycling. Designing functional hosts for sulfur cathodes is one of the most effective ways to immobilize the LiPSs and improve the electrochemical performance of a Li-S battery. In this work, a polypyrrole (PPy)-coated anatase/bronze TiO2 (TAB) heterostructure was successfully prepared and used as a sulfur host. Results showed that the porous TAB could physically adsorb and chemically interact with LiPSs during charging and discharging processes, inhibiting the LiPSs’ shuttle effect, and the TAB’s heterostructure and PPy conductive layer are conducive to the rapid transport of Li+ and improve the conductivity of the electrode. By benefitting from these merits, Li-S batteries with TAB@S/PPy electrodes could deliver a high initial capacity of 1250.4 mAh g−1 at 0.1 C and show an excellent cycling stability (the average capacity decay rate was 0.042% per cycle after 1000 cycles at 1 C). This work brings a new idea for the design of functional sulfur cathodes for high-performance Li-S battery.

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Jusoh, Adnan. „Polemik Kebudayaan Dongson di Asia Tenggara“. SEJARAH 31, Nr. 2 (15.12.2022): 1–16. http://dx.doi.org/10.22452/sejarah.vol31no2.1.

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This article focuses on the polemic related to the emergence of Dongson culture in Southeast Asia. Polemics related to this culture appear due to the existence of various views given by scholars based on the research done by them. The main objective of this paper is to discuss the polemics that arise related to Dongson culture in Southeast Asia. In addition, the objective of this paper also identifies issues or aspects that are often debated among scholars. In addition, this paper also analyzes some scholars' views especially in the field of archeology related to the polemic of Dongson culture in Southeast Asia. This study uses bibliographic methods by referring to a number of books, articles and seminar papers written by scholars who have studied Dongson culture. The results of the study found that polemics appear due to continuous research conducted by scholars, and each finding is supported by new and relevant evidence. In addition, the coverage of the area associated with the spread of Dongson culture covers a wide area in Southeast Asia including the country of China. In conclusion, polemics related to Dongson culture appear as long as there is research done by scholars because one of the foundations of this culture is the discovery of bronze drums that are widespread in Southeast Asia and China.

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Abdel-Kafy, ELSAYED, Sherif Zayed, Fatma Behiry, Michael Gorgy, Mahmoud Ahmed und Samya Ibraheim. „ASSESSMENT OF GROWTH, CARCASS TRAITS, AND SOME PHYSIOLOGICAL PARAMETERS OF BRONZE, AND WHITE TURKEYS (MELEAGRIS GALLOPAVO), AND THEIR CROSSES“. Egyptian Poultry Science Journal 42, Nr. 3 (01.09.2022): 355–72. http://dx.doi.org/10.21608/epsj.2022.264656.

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Kodani, Sean D., und Bruce D. Hammock. „The 2014 Bernard B. Brodie Award Lecture—Epoxide Hydrolases: Drug Metabolism to Therapeutics for Chronic Pain“. Drug Metabolism and Disposition 43, Nr. 5 (11.03.2015): 788–802. http://dx.doi.org/10.1124/dmd.115.063339.

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