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Paul, Carmen. "Das Kommunikationsamt (T'ung-cheng shih ssu) der Ming-dynastie (1368-1644) /." Wiesbaden : Harrassowitz Verlag, 1996. http://catalogue.bnf.fr/ark:/12148/cb40112242t.
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Bianchi, Alice. "Mendiants et personnages de rue dans la peinture chinoise des Ming (1368-1644) et des Qing (1644-1911)." Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0017.
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Cette étude porte sur une tradition picturale méconnue, celle des Liumin tu (portraits d’errants, de mendiants, etc.), et se propose d’analyser et de définir ce genre avant qu’il ne sombre dans l’oubli général. Cette tradition se rattache à l’œuvre de Zheng Xia (1041-1119) qui, en 1074, soumit au trône un mémoire accompagné d’une peinture représentant les victimes d’une famine, pour demander des secours et dénoncer l’origine politique de la crise. La première partie de ce travail est consacrée au prototype du genre et à sa postérité directe : les mémoires illustrés, produits à partir de l’époque Ming par des fonctionnaires. Nous nous sommes interrogée sur les procédés employés pour décrire et mettre en image la catastrophe et ses victimes, mais aussi sur les fonctions de ces ouvrages et leurs modalités de transmission. Au XVIe siècle, apparaissent également des peintures qui présentent, à côté des réfugiés, des mendiants et d’autres déclassés. Au moins deux grands types émergent : les œuvres qui s’attachent à souligner les souffrances de ces gens, et celles les dépeignant dans des situations comiques ou grotesques. Dans la deuxième puis la troisième partie, nous suivons parallèlement le développement de ces deux traditions aux époques Ming et Qing. Il est apparu que si certaines œuvres décrivent les misères de ces chemineaux pour indigner et émouvoir le spectateur, comme les mémoires illustrés, d’autres présentent les maux de la société à travers ces personnages. Les peintres pouvaient combiner ces deux niveaux de commentaire dans une même œuvre et tenir plusieurs discours, suivant les situations auxquelles ils étaient confrontés et le public auquel ils s’adressaientThis dissertation focuses on a neglected tradition in Chinese painting known as Liumin tu (images of refugees, beggars, etc.), and proposes to define and analyze this genre, lifting it from general oblivion. This tradition is associated with Zheng Xia, who, in 1074, submitted a memorial to the throne along with a painting of disaster refugees in order to request assistance and denounce the misguided politics of the time. The first part of this study is devoted to the genre’s prototype and to a selected group of illustrated memorials produced by officials during the Ming and Qing period. The examples analyzed prompt an inquiry into the methods used to describe and paint disasters and their victims, the functions of these works, and their modes of transmission. In the 16th century, paintings appear that also present, alongside refugees, beggars and other street characters. At least two types emerge during this era: paintings endeavoring to highlight the plight of these people, and those depicting them in comic or grotesque situations. The second and third parts of this dissertation follow the developments of these two latter genres. It emerges that, while some works deploy the misery of these vagrants to move the viewer and fill him with indignation, as the illustrated memorials do, others instead aim to portray the ills of society through these same characters: beggars symbolizing those who beg for favors; blind people serving as a metaphor for people blinded by power and glory, and so on. Painters could combine these two levels of commentary in the same work and take different stances, depending on the situations they faced and the public they addressed
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Feng, Yu Cheng. "Etude critique de trois versions commentees du xiyou ji -- lizhuowu xiansheng piping xiyou ji ("xiyou ji commente par maitre li zhi") -- vers 1625 ; xinjuan chuxiang guben xiyou zhengdao shu ("nouvelle gravure d'une edition ancienne du "voyage en occident" qui demontre la voie (taoistei) -- 1662; xijou ji zhenquan ("la vraie signification du xijou ji") -- 1694." Paris 7, 1997. http://www.theses.fr/1997PA070104.
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Le xiyou ji (1592, la peregrination vers l'ouest) est avant tout un livre d'eveil. La quete du moine historique xuanzang (environ 602-664) se revele etre la quete de chacun d'entre nous, desireux de mieux se connaitre. Quelle est la place de l'homme dans la societe et dans l'univers? face au cours changeant des choses quelle attitude convient-il d'adopter ; l'option bouddhique conduisant au nivana face auquel le monde de l'impermanence ne releve que de la verite relative? ou bien l'option chinoise considerant l'absolu comme faisant partie du processus du perpetuel devenir? le perlinage sur la trace du bouddha et la quete des soutras, entrepris par le tripitaka des tang prennent un aspect fantastique grace a la presence des quatre personnages aux pouvoirs surnaturels -- sun wukong (conscient-de-la-vacuite), zhu bajie (conscient-de-ses-capacites), sha heshang (conscient-de-la-purete), le cheval-dragon -- et grace aussi aux multiples aventures plus extraordinaires les unes que les autres qui nous sont contees. Or, curieusement, le recit de ce voyage au-dela de la frontiere du monde connu se revele capable de renvoyer au reel et d'engager une discussion sur le sens de la vie, en impliquant les trois enseignements traditionnels chinois-- neo-confucianisme, bouddhisme et taoisme. En effet, a travers la culture du commentaire -- pingdian, particuliere aux lettres chinoises, un espace de dialogue est instaure par les commentateurs qui tentent de degager une signification autre que celle vehiculee par le recit au premier degre. Grace a ce meta-espace, certains themes essentiels sont souleves : la representativite du singe-coeur pour le coeur-esprit de la voie -- daoxin -- et le coeur-esprit de l'homme -- renxin --; l'intelligibilite de ce pour quoi est l'univers a travers l'extra-ordinaire, etc. Le premier theme reflete la preoccupation des neoconfuceens vis-a-vis de la deviation des etudes du coeur-esprit-- xinxue. Le second theme repond a la confiance fondamentale des chin
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Laurent, Cédric. "La peinture narrative à sujet littéraire en prose sous les Ming (1368-1644)." Paris, INALCO, 2004. http://www.theses.fr/2004INAL0012.
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Une réflexion sur la définition de la peinture narrative chinoise en rouleau horizontal, comme représentation séquentielle continue d'une histoire a permis de former un corpus cohérent : les oeuvres furent peintes entre 1526 (date de réalisation de la première) et la fin de la dynastie , par des peintres de l'Ecole de Wu (Suzhou) quasi-exclusivement. Les peintures sont inscrites dans la continuité d'une tradition picturale ancienne, ce qui nous a conduit à étudier leur système de citation stylistique (notamment l'utilisation du "bleu-vert" ) et dde référence aux grands noms de la peinture ancienne. Les peintures narratives sont des illustrations de textes en prose. Ces textes, bien antérieurs aux peintures de notre corpus, sont constitutifs d'une tradition appelée guwen. L'aspect littéraire des peintures est un axe prédominant de l'étude. Les textes de référence ont été traduits et mis en rapport étroit avec les peintures afin d'en mieux comprendre le mode de représentation. Les peintures narratives sont conçues comme des commentaires aux textes de référence dans lesquels les peintures emploient nombre de poncifs pour alimenter un imaginaire et apporter des références littéraires, autant de motifs qui enrichissent la lecture des textes illustrés. L'étude du contexte culturel, principalement autour de la figure de Wen Zhengming (1470-1559) a mis en évidence l'intérêt que les intellectuels de Suzhou portaient au guwen. La référenciation littéraire étant l'enjeu principal, l'idée de "peinture littéraire" semble être une notion essentielle à une époque où la "peinture lettrée" ne se définissait pas encore par un style déterminéChinese narrative painting in hand scroll format is defined as a sequential representation of a story in a continuous landscape. The paintings that constitute the corpus had been realized between 1526 and the end of the dynasty, essentially by people of the region of quotation (use of 'blue-and-green' landscape, for example), and their references to the great masters. But the Chinese pictorial narration in early modern China is primarily an illustration of classical prose texts, and those texts are also devoted to a literary tradition, that comes from earlier period than the Ming dynasty. The literary aspect of the painting has been considered as the central direction for this study. The textual references has been translated and presented in order to be compared to the iconography of the paintings. This narrative paintings were made as commentary for their literary reference, in which pictorial clichés are used to enrich imaginary and to bring new literary references. The study of the cultural cortex, around Wen Zhengming (1470-1559) character has brought to light the importance of the guwen (old-style-prose) for Suzhou's intelligentsia. Much more than a 'literati style in ink and brush', what was understood until now as a 'literati painting' in the Wu school can therefore be observed with a new point of view, introducing the importance of the literary reference, as a 'literary painting'
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Liou, Tzeng Chyuan. "Les Colonisations agricoles (colonies militaires, colonies marchandes et colonies agricoles) sous la dynastie des Ming : 1368-1644." Paris, EHESS, 1989. http://www.theses.fr/1989EHES0030.
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Ma these comprend six parties, dont le contenu est le suivant: dans l'introduction, je presente l'essentiel des documents historique sur lesquels je me suis appuye pour rediger ma these, ainsi que la methode que j'ai utilisee. La deuxieme partie donne une description du regime des colonies militaires, et j'essaie de definir ce qu'implique ce regime : l'origine des garnisons et des postes, les familles de l'armee, et enfin la formation, l'apogee et le declin du regime des colonies militaires. La troisieme partie analyse les resultats obtenus, sur le plan economique, par les colonies militaires, en centrant ma recherche sur le hexi, le liaodong, le yunnan et taiwan. Dans la quatrieme partie, je decris les differences qui existaient entre colonies militaires, colonies paysannes et colonies marchandes, et j'essaie plus particulierement de comprendre leur organisation, leur nature et leurs resultats. La cinquieme partie traite de l'effondrement du systeme des colonies militaires, et je me penche sur les raisons de cet effondrement : l'augmentation des dotations annuelles, l'emploi des soldats au benefice d'interets prives, les accaparements des riches, les destructions causees par les guerres, et latransformation des terres des colonies militaires en terres paysannesThe first chapter, which is also the introduction, presents the main referential historical documents, as well as the method employed. The second chapter is a description on the regime of the "colonies of armies" in the ming dynasty. In the third chapter, an analysis of the economic achievements of the "reclaimation colonies of armies" is made, focused on the provinces of hexi, yunnan and taiwan. Chapter four, it is mainly a distinction among the "reclaimation colonies" of armies, of peasants, and of merchants; their organisations, natures and achievements are particularly studied. Chapter five comes to the collapse of the regime of the "reclaimation colonies of armies". Finally, the thesis is concluded in chapter six
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Filipiak, Kai. "Krieg, Staat und Militär in der Ming-Zeit (1368 - 1644) ; Auswirkungen militärischer und bewaffneter Konflikte auf Machtpolitik und Herrschaftsapparat der Ming-Dynastie." Wiesbaden Harrassowitz, 2006. http://d-nb.info/990733971/04.
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Filipiak, Kai. "Krieg, Staat und Militär in der Ming-Zeit (1368-1644) : Auswirkungen militärischer und bewaffneter Konflikte auf Machtpolitik und Herrschaftsapparat der Ming-Dynastie /." Wiesbaden : Harrassowitz-Verlag, 2008. http://d-nb.info/990733971/04.
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魏城璧 and Sing-bik Cindy Ngai. "A study of court drama in the early Ming Dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221531.
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Lawrence, Marilyn Ann. "Wu Wei (1459-1508) and Lu Zhi (1496-1576) : the urban hermitage versus the peach blossom spring." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28101.
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This thesis focuses on two early and middle Ming (1368-1580) artists and deals with the role of Chinese historiography in the perpetuation of the dichotomy between the so-called "professional" and the so-called "scholar-amateur" artist. While traditional Chinese historical and biographical sources are an invaluable tool for the sinologist, including the Chinese art historian, the convention adopted by Chinese historians of casting subjects into standard characterized roles has contributed to this dichotomy and resulted in the ongoing debate over the value of the professional artist in China. Historically, Chinese critics and collectors have made a distinction between professional and amateur artists. The traditional Chinese critical bias has been in favour of the scholar-amateur artist. In fact, in much critical literature there is a stigma attached to professionalism in painting.
The major initial Western studies of Chinese painting represented a continuation of the traditional Chinese dichotomies. More recently, various kinds of positions have been taken up by Western scholars. James Cahill suggests that a correlation can be made between an artist's painting style and social and economic factors (such as lifestyle, formal training, means of livelihood, demands of patrons, and so on). Richard Barnhart instead defends the professional artist: He believes that Cahill perpetuates the bias in favour of the amateur artist, and that a correlation between an artist's style and social and economic factors is not useful, being too restrictive and general. Their debate was taken up in a series of letters, and this debate has continued down to the present.
Some of the most recent Western interpretations attempt to try to break down the earlier dichotomies, and my research supports this interpretive trend. In this context the thesis examines the life and works of two relatively minor artists of the Ming dynasty, the "professional" artist Wu Wei (1459-1508) and the "scholar-amateur" artist Lu Zhi (1496-1576). I discuss the Chinese biographical tradition and have translated the appropriate texts and biographies. Then by examining the paintings themselves in the context of the two artists' environments — Wu Wei in Beijing and Nanjing and Lu Zhi in Suzhou — I show that both of these artists enjoyed the freedom of working in a wide variety of different painting traditions. Early and middle Ming painting criticism is also examined, in addition to the influence of Late Ming (1580-1644) painting criticism and its effect on our perception of Chinese artists.
In terms of style, aesthetics, and intellectual outlook, Wu Wei and Lu Zhi may, at first, appear to stand at opposite poles. However, my study of the life circumstances of Wu Wei and Lu Zhi reveals that they share surprisingly similar backgrounds, concerns, and views on their artwork. In addition, an examination of the works of these two artists suggests that a greater fluidity of style and of subject matter existed in the early and middle Ming period than one would expect from the theories based on Late Ming criticism. In other words, the distinction between professional and scholar-amateur artists is overdrawn: Wu Wei and Lu Zhi do not fit neatly into the later understandings of accepted categories or roles, nor do their paintings entirely accord with the theories originating in the Late Ming Period.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Espesset, Grégoire. "Cosmologie et trifonctionalité dans l'idéologie du "Livre de la Grande paix" (Taiping jing)." Paris 7, 2002. https://tel.archives-ouvertes.fr/tel-00670888.
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En dépit d'une histoire textuelle problématique, le "Livre de la Grande paix (Taiping jing)" transmis par le "Canon taoi͏̈ste" de la dynastie des Ming (1368-1644) reflète incontestablement des idées enracinées dans la vision du monde de l'époque des Han (206 av. J-C - 220 ap. J-C). La cohérence de son contenu en apparence hétérogène réside dans l'idéologie tripartite qui sous-tend son substrat cosmologique et dépeint l'univers tout entier en une structure arborescente dérivant du modèle de base "Ciel-Terre-Homme". Dans cette idéologie, deux logiques triadiques s'opposent : (1) un processus ternaire de déclin dans lequel l'Homme est déchu de la perfection originelle et (2) un processus synthétique de retour à l'Unité dans lequel l'Homme incarne la ré-union harmonieuse des pôles de la binarité. La trifonctionnalité vitaliste du dispositif varie en conséquence [Troisième partie]. Cette étude comporte également une synthèse de l'histoire textuelle du "corpus de la Grande paix (Taiping)" et l'analyse philologique du matériau subsistant [Première partie] ainsi qu'un résumé analytique intégral de la version fragmentaire du "Livre de la Grande paix" qui apparaît dans le "Canon taoi͏̈ste", complétée d'un manuscrit de Dunhuang du British Museum de Londres (MS Stein 4226), qui date du second quart du VIIe siècle, et d'un recueil d'extraits du texte maître compilé au cours du Xe siècle [Deuxième partie]Despite its problematic textual history, the "Book of Great Peace (Taiping jing)" transmitted in the Ming Dynasty (1368-1644) "Taoist Canon" clearly reflects ideas deeply rooted in the world-view of Han times (206 BC-220 AD). The cohesiveness of its outwardly heterogeneous content resides in the triadic ideology which underlies its cosmological substratum and depicts the whole universe as an arborescent structure derived from the basic "Heaven-Earth-Man" pattern. There is a conflict in this ideology between two forms of triadic logic : (1) a ternary process of decline in which Man has fallen from primordial perfection and (2) a synthetic process of reversion to Unity in which Man embodies the harmonious reuniting of the poles of binarity. The vitalist trifunctionality of the scheme fluctuates accordingly (Part III). .
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Wong, Yuk-tung, and 黃毓棟. "The orientation of Han Chinese intellectuals after the collapse of the Ming Dynasty (1368-1644)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31244968.
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Perront, Nadine. ""Récits de voyages aux quatre orients" : étude et traduction d'un recueil de quatre ouvrages de la dynastie des Ming." Paris, INALCO, 1990. http://www.theses.fr/1990INALA001.
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Fong, Kam Ping. "The withering sprout : prefectural judiciary and legal professionalism in the early Qing dynasty." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/105.
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This study highlights the influence of the Ming-Qing transition on legal justice in China. According to mainstream sinicisation (Hanhua ..) theory, Manchu was assimilated into the Han majority and ruled China using the old Ming government system. This study proves otherwise via an extensive examination of the transition’s effect on legal justice, particularly the abolition of the prefectural judge (tuiguan..) position during the early Qing Dynasty. In the Yuan and Ming eras, judges emerged as unique officials specialising in juridical responsibilities and demonstrating the sophistication of legal justice. However, institutional reform during the Qing Dynasty pushed local administrators (prefects; zhifus..) into taking over prefectural judiciary responsibilities, gradually blurring the functional line between justice and civil executives until prefectural judges were ultimately banished from service. This study investigates the reasons behind the elimination of the prefectural judge position and the decline of legal professionalism in sixteenth and seventeenth century China. The findings demonstrate the great differences between the Ming and Qing legal systems and an alternative perspective for assessing the significance of the Ming-Qing transition is proposed.
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郭嘉輝. "明洪武時期「朝貢制度」之研究 (1368-1398)= The Chinese tributary system during the Hongwu era of the Ming dynasty, 1368-1398." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/170.
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孟森（1868-1938）先生曾言「中國自三代以後，得國最正者，惟漢與明。 匹夫起事，無憑藉威柄之嫌。為民除暴，無預窺神器之意。而明之驅元，又 多一光復華夏之功」點出了明太祖（朱元璋，1328-1398，在位1368-1398） 於國史上的地位在於「得國最正」及「光復華夏」，接著又提到「明祖有國， 當胡元盡紊法度之後，一切準古酌今，掃除更始，所定制度，遂奠二百數十 年之國基」、「清無制作，盡守明之制作，而國祚亦與明相等。故於明一代， 當措意其制作。措意明之制作，即當究心於明祖之開國」，歸納出「明祖開國」 於明清兩代五百餘年政治制度的意義。洪武時期於國史上的雙重意義，非常 值得我們探究，特別是太祖在「重造華夏」的過程底下傳統中國對外體制－ 「朝貢制度」是怎樣被重新構築。這一新體制不論在思想、禮儀、政制或是 貿易層面都呈現與別不同的面貌，並深深地影響明清五百餘年的軌跡。此即 討論太祖朝貢制度之因由。 因此，本文以思想、禮儀、政制、貿易四項課題為重心，分為七章：第 一章為導論，從研究回顧、論文架構、史料、定義交代本文的佈局；第二章 從洪武時期的對外詔令、敕撰書考察明太祖的天下觀、對外思想與「朝貢」 理念；第三章，先梳理歷代賓禮的流變以突顯明代之特色，繼而從朝會、冊 封兩方面，分析太祖對外思想所呈現「華夷定分」的秩序；第四章，從洪武 賓禮的發展與實踐說明「重造華夏」的過程及其於東亞各國的文化意義；第 五章，從中央、地方機構兩層面說明「朝貢制度」的對外事務是如何被太祖 被重塑，並分析遣外使節的特色；第六章，利用計量分析，從「給賜」與「貢 物」兩方面說明「朝貢貿易」對明初社會經濟的影響，並從通貨、海禁、廢 除市舶司等背景評析。第七章為結論，對洪武時期「朝貢制度」作全面的評 價。 Meng Sen ( 孟森,1868-1938), one of the pioneers of Ming studies, highlighted the significance of Zhu Yuanzhang (Ming Taizu, r.1368-1398) as a leader who “recovered China (from “barbarian Yuan rule) and founded Ming institutions which would subsequently be adapted by the Qing state. Zhu Yuanzhang’s achievements in re-shaping the pattern and context of traditional Chinese foreign relations by establishing the tributary system exemplify his reputation for “recreating Hua-xia (the historical Chinese polity). This dissertation takes the “tributary system (chaogong zhidu) of the Ming dynasty’s Hongwu reign as a case study, exploring its characteristics through the lenses of statecraft philosophy, rituals, institutions and trade. It comprises seven chapters. Chapter one illustrate the scope, the methodology, and the sources of this research. Chapter two analyzes Ming Taizu’s views of Tianxia, diplomatic thought, and the definition of “tributary expressed in imperial edicts. Chapter three examines the Ming tributary system’s features by comparing the developments of “guest rituals. Chapter four analyzes the process and influence of “recreating Hua-xia by evaluating Hongwu’s guest rituals as an example. Chapter five shows the formation and restructuring of institutions dealing with foreign relations. Chapter six discusses the effectiveness of tributary trade by reviewing its fiscal background and the exchange of tribute items and gifts. The final chapter is the conclusion. By adopting such approaches, this dissertation strives to present a comprehensive picture about the Hongwu emperor’s contributions to traditional Chinese foreign relations.
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Kam, Pun-pun, and 金彬彬. "A prelimary study of the xiao pin in the late Ming period(ca.1573-1644)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48394634.
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The development of the xiao pin in the late Ming period (ca.1573-1644) could be explained by four reasons: the political background, the development of economy in the south, the new literary theories advocated and the social background changed.
There are different forms of the xiao pin in the late Ming period, such as diaries, biographies, travel accounts, essays, etc.. Mostly they are short compositions, yet they can express the genuine feelings of the writers.
The subject matters of the xiao pin in the late Ming period are mainly on natural scenery, interesting daily life, meaningless talking, the art of calligraphy and painting etc. in which the writers express their points of will different from the common people.
The xiao pin in the late Ming period has a characteristic of “genuine”(真), “Charm”(韻), “Interesting”(趣) which calls for an interesting reading and thinking.
Though scholars or readers have different assessments on the xiao pin in the late Ming period, yet, it unquestionably holds a place in the history of Chinese literature.
To let readers understand the different contents and characteristic of xiao pin in the late Ming period, nine compositions concerned are selected and attached at the end of the thesis.published_or_final_version
Chinese Language and Literature
Master
Master of Arts
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Chevaleyre, Claude. "Recherches sur l'institution servile dans la Chine des Ming et des Qing." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0123.
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Ce travail se propose de revenir sur un sujet qui a longuement occupé les historiens chinois et japonais entre les années 1920 et 1980, mais fort peu l'historiographie occidentale : celui de l'institution servile dans la Chine impériale des Ming et, dans une moindre mesure, des Qing. Le premier chapitre retrace d'une part le processus et les conditions dans lesquels le pouvoir sino-mandchou abolit l'institution servile en 1910. Il interroge d'autre part la perception qu'avalent les Chinois des pratiques serviles et la place de l'antiesclavagisme dans la société de la fin de l'ère impériale. Le second chapitre revient sur les révoltes d'esclaves du milieu du 17e s. Il en propose la synthèse et en réévalue la signification et la portée historique dans le contexte de la crise de la fin des Ming. Le troisième chapitre offre une relecture détaillée des sources juridiques et des textes institutionnels du début des Ming, afin de mettre en lumière les normes de l'institution servile et la place qu'elle occupait dans le projet de société du fondateur des Ming. Le dernier chapitre s'attarde plus longuement sur la condition et les fonctions de la servitude, puis examine la conception et l'usage que faisaient les clans de la servitude à travers les sources du droit domestique. Il s'attache surtout à identifier les critères distinctifs et la nature de la servitude en examinant le concept de souillure et la nature de la relation maître-dépendant. Ce faisant, cette étude entend contribuer à une meilleure connaissance des pratiques et de l'institution servile et à réintégrer l'expérience chinoise dans l'historiographie mondiale des esclavages dont elle est restée trop longtemps à l'écartThis dissertation focuses on human bondage in Ming and Qing China. This topic has been explored at length by Chinese and Japanese historians in the course of the 20th century. Yet it is still neglected by Western historiography. The first chapter explores the conditions and the process that led the Qing authorities to abolish the practice of "buying and selling" human beings and the status of socalled "bondservants. " It also explores the place of antislavery in late Qing society and the perception the Chinese had of their own bondage practices. The second chapter turns to the well-known topic of late Ming slave revolts and offers a re-evaluation of their significance and historical meaning. The third chapter focuses on the legal and institutional aspects of bondage in Ming China. Based on an in-depth study of Ming legal and institutional sources, it sheds new light on the norms and place of human bondage in the society envisioned by Zhu Yuanzhang, the founder of the Ming. The last chapter explores the condition and functions of "bondservants" before turning to the analysis of the conception and uses of bondage as seen through domestic law sources. It mainly attempts to seize the nature of "bond servitude" by exploring Chinese conceptions of debasement and the nature of the master-bondservant relationship. This study contributes to a better understanding of the Chinese experience in the master of human bondage and to the integration of China in the world histories of slavery, bondage and labour
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鍾妙昏 and Miu-fun Anita Chung. "Jiehua of the Qing Dynasty (1644-1911)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238373.
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陳方 and Fong Chan. "A study of Xu Wei (1521-1593) and his Si sheng yuan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222225.
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Lun, Yan-lai, and 倫欣麗. "A study of Chen Xianzhang's poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39793801.
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Cheung, Ho-yee, and 張可宜. "A study of Liu Ruoyu's Zhuozhong zhi." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007470.
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Cheng, Ching-fong, and 鄭靜芳. "A study of Li Panlong's mimetic poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50662120.
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The research topic of this thesis is “A Study of Li Panlong’s Mimetic Poems”. Mimetic Poems are poems that imitate classical poems. Generally speaking, writers of Mimetic Poems tend to mimic poets who lived in earlier dynasties and had great achievements in poetry, in a way that the original outer language styles and inner spiritual essences are usually inherited. This thesis focused on the study of Li Panlong’s theory on poetry and his Mimetic Poems. From both the theoretical and practical points of view, the imitating situations of his poems were evaluated.
This Paper analyzed Li Panlong’s Mimetic Poems from the perspectives of linguistics and psychology. The phenomenon of Li PanLong’s language usage in his Mimetic Poems was grasped through the theory of language as medium. Li Panlong’s state of mind when creating his Mimetic Poems was studied through the theory of literature psychology. Aiding with the method of “Close Reading”, Li Panlong’s Mimetic Poems were analyzed in details. Also, using the way of “Zhiren Lunshi”, the relationship between Li Panlong’s behavior of imitating and the social context in his times were discussed.
After throughout study of Li Panlong’s theory on poetry and his Mimetic Poems, it was discovered that his theory on poetry was applicable in his Mimetic Poems. There were some “Niguyuefu” of Li Panlong which preserved the original outer language styles, some which inherited the inner spiritual essences, and some in which new elements of language were created. As for his “Nigushi”, the requirements of “Shu”, “He” and “Li” in his theory on poetry were fulfilled in the following sense. First, Li Panlong was familiar (“Shu”) with the works of Previous dynasties. Then either he ensured that the outer language styles of his “Nigushi” were similar (“He”) to the original works or he got rid of (“Li”) the influence of language in the original works, shifted to the standpoint of a critic, as well as supplemented and commented works of previous dynasties by the way of poetry imitating. Therefore, his theory and practice on poetry formed a mutual supporting system.
本論文的研究題目是〈李攀龍的摹擬詩研究〉。所謂“摹擬詩”，是通過摹擬古代詩歌而建構出來的詩歌模式。一般而言，摹擬詩具有明確的摹擬對象，而摹擬對象又是前朝有成就的詩人詩作，以追求所擬詩的外在詩學語言形式與內在精神意趣為要旨。本論文就是針對李攀龍的詩學理論及摹擬詩進行研究，從理論和實踐兩方面觀照李攀龍的詩歌摹擬情況。
本論文從語言、心理兩個角度進行研究，運用文學語言中介理論來把握李攀龍摹擬詩的語言面貌；利用文藝心理學理論來分析李攀龍的摹擬心理。並輔以“文本細讀”的方法，細緻分析李攀龍的摹擬詩； 同時以“知人論世”的方式，探討李攀龍的摹擬行為與其身處時代的關係。
筆者研究李攀龍的詩學理論與摹擬詩後，發現李攀龍的摹擬詩大體能貫徹其詩學理論。其擬古樂府既有“胡寬營新豐” 式的形似摹擬，也有“伯樂論天下馬”式的神似摹擬，更有做到“日新富有”的李氏新樂府。其擬古詩，則謹遵其詩學理論中“熟”、“合”、“離”的要求，先“熟”讀前人作品，進而在摹擬時，或力求擬作語言風貌“合”於原作；或儘量遠“離”原作的語言影響，站在評論者的立場，通過擬作補足、評論前人作品。其詩學理論與實踐因此形成了一個相互印證的嚴謹系統。published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Chan, Kwok-kou Leonard, and 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.
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Liu, Li. "The influence of Fengshui on the building of the City of Beijing in the Ming Dynasty (1368-1644)." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/28440.
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This thesis presents a study aiming to resolve the dispute over the role of fengshui in the building of the capital city Beijing. It argues that the complexity and diversity of the various elements that went into the formation of concepts concerning siting and building encouraged the use of fengshui ideas as part of retrospective interpretations of the capital city at the urban planning level. However, the inferior position accorded fengshui in orthodox cultural contexts prevented fengshui's being incorporated in the official governmental ideology of creating imperial capitals. This study begins with a description of the historic and cultural background against the Beijing was built. It demonstrates that the ideology employed in the building of imperial capitals on the one hand, and fengshui on the other hand were each associated with entirely different socio-cultural contexts. Fengshui was more a body of loosely related ideas than a coherent theoretical system. Although the same cosmological symbols were used in both codes, whereas the orthodox ideology was held by the elite to be most important for legitimising the capital as a cosmic centre, fengshui was viewed by the elite with ambivalence, indeed sometimes fierce criticism, partly because of the heterodox nature of fengshui in challenging the Confucian concept of Heavenly Will. An inquiry into the specific circumstances of the capital city Beijing at the time when it was being built suggests that fengshui theory was not consciously taken into account in the choice of the city's site. Owing to the unique significance of the city as a capital, fengshui practitioners are not likely to have been employed in the city's siting, even though they were employed in the siting of imperial tombs. However, many factors caused fengshui ideas to be incorporated in the non-governmental interpretations of the siting of Beijing.
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Schmitt, Camille. "Conservation traditionnelle des calligraphies et des peintures chinoises montées en rouleaux, à partir des textes de la dynastie Ming (1367-1644)." Paris 4, 2002. http://www.theses.fr/2002PA040175.
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La conservation des peintures et des calligraphies montées en rouleaux est étudiée au travers des sources de la dynastie Ming qui révèlent leur préoccupation pour les matériaux et la préservation des œuvres. L'étude technique du papier, de la soie, des adhésifs, de l'encre, des couleurs et celle de l'art du montage montre grâce aux textes la pérennité d'un vocabulaire spécialisé, mais surtout le classicisme de l'esthétique Ming qui devient la référence. Lorsque les œuvres sont abîmées, le restaurateur les traite selon des procédés relevant de la conservation " curative ". Cependant, la tradition chinoise valorise davantage les méthodes de conservation préventive, préconisant l'utilisation de produits insectifuges et fongicides, elle insiste sur les précautions de manipulation, d'exposition et de rangement qui relèvent de la responsabilité du collectionneurThe conservation of Chinese scrolls starts with the full comprehension of the picture and its mounting material : paper, silk, adhesives, ink, colours with studied through the Ming dynasty texts. It points out the conservative preoccupation of the mounters. The study of the of the Ming mounting through the Ming texts shows that the vocabulary and aesthetics in mounting take their roots in the dynasty. Damaged scrolls only are to be remounted, and the restorer uses a treatment similar as a medicine. But the Chinese notion of conservation still enhance the uses of preventive methods, such as the precaution taken when opening and closing a scroll, exhibiting, and storing them, which are of the collector's responsibility
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趙米卿 and Mai-hing Chui. "A study of the Ming and Qing historical novels related toYue Fei." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B38803835.
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Si, Tou Sau-ieng, and 司徒秀英. "A study of zhuanqi drama of the mid-Ming period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31239262.
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劉燕萍 and Yin-ping Grace Lau. "Grotesque satire in the Ming and Qing novels." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240495.
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李顯偉. "明清之際的捕役與基層社會治安= A study of local constable and the maintaining of order in local society during the Ming-Qing transition." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/490.
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中國歷代政府均視地方治安為重要的政治議題，治安議題也就成為治史者瞭解古代中國政治運作的一門路徑。過去有關「明清基層社會與治安」的研究，向為中外學者頗感興趣的課題。本文的重點是討論明清之際基層社會的治安管理情況，為此提出了四個既是獨立但又環環相扣的問題。有別於過往研究，本文將以捕役這類普遍存在於明清基層社會，而又備受現今學者忽略的基層公務員為切入點，首先重新梳理他們在明清之際出現的原因以及演變過程，解釋他們在明中後期才成為專門的治安人員，並釐清包括捕役在內的應捕人專責維持社會秩序。其次, 闡述捕役在基層社會中的職能，指出他們擁有頗大的治安和司法權力。接著討論捕役機制存在待遇差劣以及人手編排不足等制度性問題，因而促使捕役濫用職權，從而達到經濟和治安目的。至於捕役犯罪情節的內容和影響，本文摒棄傳統以小說內容入手的做法，改以多部判牘內有關捕役犯罪的真實個案着手，得出「誣良為盜」和「屈打成招」是他們最常見的犯罪行為的結論，這些罪行對基層社會的治安和司法運作造成重大問題。最後把焦點從治安人員轉移到管理這些群體的地方官員上，透過地方官員對待捕役的態度，反映官員在治安管理上的困難和理解。他們一方面面對統治者的治安要求，另一方面又受制度上及資源上的限制，所以只能以加重懲罰的高壓方法來提高捕役完成治安任務的可能和減低他們犯罪的機會。這種態度表層意義反映他們只視捕役為「治安工具」，更深層意義是揭示地方官員對治安管理的終極理解──完成治安任務。要言之，本文透過捕役以及管理這些治安人員的地方官員，帶出地方治安管理的政策和問題，以另一個角度，瞭解明清之際基層社會的治安情況和特色。study focuses on the social public order and management of the local society during the Ming-Qing transition. Four independent but related questionsare raised for discussions to achieve such aims. First of all, this thesis focuses onthe buyi (捕役, literally local constables). They were a type of grass-root civilservant which permeates the local society of the Ming-Qing period, but long beenignored by the modern historians. In order to understand how they becameindispensable public security staffs and to clarify their responsiblities, their rolesand deeds in the transition period between Ming and Qing, as well as theirtransformation process in the due course are discussed. Secondly, the functions ofbuyi in the local society are explored to point out the great power on security andjudicial aspect they had seized. After that the institutional issues including a lackof manpower and low remuneration level are discussed, as such issues had pushedthe buyi to misuse their power to seek for their own benefits. The third questionrelated to the criminal committed by the buyi. In this chapter the crimes of thebuyi are reconstructed from judicial casebooks rather than the late Ming novels.From such cases the most common crimes of those buyi are fallen into thecatergories of Accused on innocent person and Tortured for confessions . Suchcrimes were serious problem to the local judiciary as well as the social order. Atlast our focus is shifted from those local security staff to those local officials. Inorder to reveal the difficulties and understanding on maintaining local social orderfrom the viewpoint of officials, how they treated those buyi is thoroughlydiscussed. On one hand the officials had to obey the nationwide policies imposedto them by the imperial authority, on the other hand they were restricted by thelocal institutions and resources, therefore the officials could only raise the level ofpenalties so as to lower the possibility of those buyi to commit crimes, and also toimprove their willingness to fulfil their duty. Such difficulties of the officialsmade them to treat the buyi as tools for social order maintenance . Incidentally, itrevealed that the ultimate understanding of Ming-Qing local officials on socialorder maintenance was to accomplish on surface their missions of social orderissued from their seniors, other than establish solutions to uproot sources ofcrimes or to build an effective and uncorrupted force of local constables.To conclude, this thesis asks us to pay attention to the policies and issues onlocal social order of late imperial China by exploring the buyi and the localofficials whom managing them.
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Dai, Ping Emma, and 戴平. "The concept of love in the Ming short stories of Sanyan and Erpan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222559.
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Li, Xiaorong 1969. "Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.
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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
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林怡劭. "明清之際「詞史」研究與「新詞史」專題= A study of Cishi in the period of Ming-Qing transition and the new cishi topics /林怡劭." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/358.
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「詞史」為一理論術語，亦是作品的價值桂冠。此一觀念於明清之際興發，然而歷來大多是站在「詩史」的角度之下詮釋此一概念，而少對當時的「詞史」論述作一完整並細緻的討論。經過分析，筆者發現明清之際的「詞史」論述具有泛情化與個人化的傾向，故本文以現今「詞史」研究的學術反思為出發點，並進一步站在此特點之上，企圖建立一個考察「詞史」作品的「新詞史」視角。第一章是全文的基礎，包含兩個重點：一是分析明清之際的「詞史」概念特質，並闡述其產生背景與原因；二是將「詞史」與「詩史」、「曲史」一同比較，得出它們的細微差別。第二章至第四章從「詞史」論述中選取三個主要內涵，分別是「傳心」、「憶往」與「懷古詠史」，在這三章中，除了對這三類「詞史」論述有更仔細的分析外，並加入了與此三個主題相關的理論思考，形成新的考察視角，接著由這些主題衍伸而出，開展專題討論，作為「新詞史」之示例。「詞史」的泛情化與個人化，背離了過往重紀事的史觀，而與二十世紀初以來的新史學觀念相符，同樣指向心靈史與思想史之範疇。也因為「事」的剝離，其間文體跨越的標準，以及詞中「史」的性質都更為抽象、模糊，加上論述中賦予鑑賞者裁選的權力，故與新歷史主義亦有部分相似之處。本文採用新歷史主義的方法，注重文本與歷史的互動，選擇詞、史兩個方面皆有價值的作品：第一個專題以兩組骷髏詞為分析對象，從中可見兩種死亡觀的對話；接著以自壽詞與自題像詞為分析對象，觀察他們詞中的自傳意味；最後以〈虞美人〉詞牌為主的虞姬詞為分析對象，帶出英雄觀的討論。這三個專題之間又是彼此關聯，共同形成一個歷史場域，在詞中展現他們文學化的眾聲喧嘩。綜上所述，本文於理論與作品兩方面，希望能擺脫過往陳陳相因的定義與詮釋，而對於詞與史，有更多思考的可能。= As an academic term, Cishi can also be esteemed as a compliment of a piece of work. Cishi, developed into a concept in the duration of Ming and Qing Dynasty, has been long comprehended and interpreted under the gist of Shishi, without a thorough and detailed discussion over the contemporary discourse about Cishi. Through close reading and analysis, I found that the discourse about Cishi in the duration of Ming and Qing Dynasty has an inclination of pan-sentiment and personalisition. This dissertation is based on the reflection of present study on Cishi, and tries to make a step further to establish a "new Cishi" platform to inspect Cishi works. The first chapter is the fundament of this whole dissertation, which consists of two parts: one is to analyze the particularity of the concept of Cishi, and explain its background and reason, and the other is to compare the subtle differences among Cishi, Shishi and Qushi. I select three main connotations--expressing mind, retrospecting the past, and ode to history, to discuss among Chapter Two to Chapter Four. Besides the profoundly analyzing, I combine these three topics with respectively related theoretical thinking to form a new perspective. Subsequently, specific discussions expended from the topics are set examples of the "new Cishi". Pan-sentiment and personalisition of Cishi deviates from the traditional historiography view which concentrates on the event recording, whereas corresponds with the new historiography view blossoming in 20th century, which also points to the spiritual history and the history of ideas. For the reason of the separation from events, ambiguous standards of style, the abstract and vague quality of "history" in Ci, as well as the power of selecting entitled to the readers in discussion; Cishi also shares some similarities with new historicism. So in this dissertation, regarding the interaction between text and history, I adopt the method of new historicism to select those works which contribute both in Ci and in history. The first topic concentrates on two groups of skeleton Ci, which embodies two different views of death. The second topic sets the self-bithday-congratuation Ci and self-portrait-inscription Ci as objects of study to observe the connotation of autobiography within. In the very end, the third topic analyzes the character of Yuji(虞姬) which mainly appears in the Cipai(詞牌) of Yumeiren(虞美人), which also contains the discussion of the heroic outlook. Associated mutually, these three topics form a historical field, and burst into a literary chorus in Ci. As a conclusion, this dissertation explores in aspect of theory as well as works, tries to get rid of the past routinized definition and explanation in order to offer some new possible perspectives in both Ci and history.
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Fegly, Jean-Marie. "Théâtre chinois : survivance, développement et activité du Kunju au XXe siècle." Paris 7, 1986. http://www.theses.fr/1986PA070142.
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Etude des avatars et de l'évolution du style théâtral kunju au 20eme siècle, avec un panorama des activités des diverses troupes de théâtre (le kunju est un des styles les plus anciens du théâtre chinois). Apres une longue introduction, où est retracée l'histoire du kunju à l'époque Ming et à l'époque Qing, avec une explication des caractéristiques musicales et de l'art de la scène, l'auteur aborde l'étude des "avatars et activités du kunju au 20eme siècle". 1 Evolution du kunju avant 1950 (les activités avant 1921, la fondation de l'institut pour l'étude du kunju et la vie des troupes jusqu'en 1950). 2 Développement et activités de ce style de 1950 à nos jours (le succès de la pièce : "les quinze ligatures de sapèques", les réunions et les discussions de 1956 et de 1957, puis la description des activités des cinq troupes existant encore aujourd'hui en Chine). 3 Aperçu de la vie d'une actrice, d'une troupe théâtrale et le déroulement des activités des amateursStudy on the evolution and problems of kunju style in the twentieth century, with a large view on the activities of several theatre troops (kunju is the oldest style of chinese theater). After a long introduction in which kunju history is related from Ming to the late Qing periods, with an explanation of musical characteristics and acting, the author studies "the problems and activities of kunju in the twentieth century". 1. Evolution of kunju before 1950 (activities before 1921, the foundation of the institute for the research on kunju and the life of theatrical troops until 1950)
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潘步釗 and Po-chiu Poon. "A study of the drama (Chuanqi) of good versus evil in theMing dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29947418.
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Ni, Ping. "Mise en œuvre de la pensée bouddhique Vijñānavāda (Rien-que-conscience) dans les écrits littéraires et philosophiques de Yuan Hongdao (1558-1610) [i. E. 1568-1610]." Paris, INALCO, 2012. http://www.theses.fr/2012INAL0005.
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Cette thèse est l’aboutissement de recherches sur le parcours biographique et l’ensemble de l’œuvre philosophique et littéraire de Yuan Hongdao (1568-1610), un auteur dont la pensée a dominé la théorie littéraire de la fin de la dynastie des Ming et dont l’œuvre, censurée pendant trois siècles, est revenue sur le devant de la scène grâce au mouvement de la « Nouvelle Littérature Chinoise » des années trente du XXe siècle. Ce travail montre que la réhabilitation de Yuan Hongdao qui s’est opérée alors a détourné sa pensée en le rattachant au syncrétisme de son époque qui prône l’unité des trois pensées, le confucianisme, le taoïsme et le bouddhisme. La thèse tend à démontrer que la théorie littéraire et philosophique de Yuan Hongdao s’inscrit au contraire dans le renouveau de l’école bouddhique Rien-que-Conscience qui resurgit à son époque en contre-courant du syncrétisme. En passant en revue les concepts du confucianisme et du taoïsme convoqués dans ses essais philosophiques, l’« examen des choses », la « bonté innée de la nature humaine » et la « spontanéité », elle rend compte de la mise en œuvre par Yuan Hongdao de la théorie de l’école Rien-que-Conscience dans la déconstruction des pensées traditionnelles de sa sphère culturelle. Yuan Hongdao montre que ce qui relie les concepts de ces pensées et justifie leur syncrétisme est un attachement métaphysique qu’il y décèle. Par ailleurs, l’exploration des concepts de sa théorie littéraire, l’« inspiration propre » (xingling) et l’« état d’esprit détaché » (qu) ainsi que l’analyse de sa pratique poétique montrent que l’esthétique littéraire de cet écrivain emprunte également l’approche de l’école Rien-que-ConscienceThis thesis is the result of research into the life and complete philosophical and literary works of Yuan Hongdao (1568-1610), an author whose thought dominated the literary theory of the late Ming Dynasty and whose works, censored for three centuries, returned to centre stage thanks to the “New Chinese Literature” movement of the 1930s. This work shows that the resulting rehabilitation of Yuan Hongdao has led to the misrepresentation of his thought by associating it with the syncretism of his period which advocates the unity of three thoughts: Confucianism, Taoism and Buddhism. The thesis aims to show that, on the contrary, the literary and philosophical theory of Yuan Hongdao is part of the revival of the Consciousness-Only Buddhist school which reappeared during his time and went against syncretism. By analysing the concepts of Confucianism and Taoism conveyed in his philosophical essays ― the “investigation of things”, the “innate goodness of human nature” and “spontaneity” ―, the thesis demonstrates Yuan Hongdao’s application of the Consciousness-Only school theory in the deconstruction of traditional thoughts within his cultural sphere. Yuan Hongdao aims to show that what links the concepts of these thoughts and justifies their syncretism is a metaphysical attachment that he has detected in them. In addition, exploration of the concepts of Yuan Hongdao’s literary theory, the “own inspiration” (xingling) and “state of detached spirit” (qu), together with analysis of his poetic practice show that his literary aesthetic also draws on the Consciousness-Only school approach
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陳文寧. "論明清中國士人信徒對祭祖禮的探討以耶穌會羅馬館藏明清士人信徒祭禮文獻28篇為考察範圍= An analysis of Ming and Qing dynasties Chinese scholor-believers' studies on ancestral offering ritual: based on 28 documents, collected by the society of Jesus Roman archives, written by Ming and Qing dynasties Chinese scholar-believers on the offering ritual." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/289.
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由14位作者寫於17世紀、收於耶穌會羅馬館的28篇祭禮文獻，是迄今所見最早一批出自中國士人信徒之手，在禮儀之爭期間就傳教士對祭祖禮的顧慮作出回應的文章。按內容來看，傳教士的顧慮可歸納為兩類，一是採取詢問的方式，向這批士人信徒請教與祭祀相關的問題，二是對祭祖禮已持有否定態度，致令這批作者撰文予以反駁。從祭祖禮的觀點方面來說，28篇文獻作者主要是從祭祖本義、祭祖禮是否真的含有與天主教信仰相牴觸的成份等兩方面，進行論述。對於前者，他們認為祭祖源於人情、德育及治國三方面的需要；對於後者，他們指祭祖禮既無求福的成份，亦不認為祖先仍會來格來饗於祭祀現場，因此祭祖之槍祭"與祭上帝之槍祭"在本質上迥異。雖然在該如何理人死後的靈魂狀態、嘏辭是否在當時社會中已無人應用等細節上，個別作者有不同的意見，然而他們基本上是一致認為祭祖禮應允許中國信徒繼續奉行。從立論方式來說，28篇文獻作者中縱使有個別作者對某些儒家經典的可信性存疑，但他們大多仍是主要採用經學進路，強調先王、孔子、儒學的地位及中國文字用法有其特別之處，援引儒家經典、尤其是《禮記》對祭祖禮的描述，以及宋儒的觀點、當中又尤以朱熹為主，作為探討時的論據. 以28篇與其所身處的明末清初時期經學主流相較而言，他們的確反映了當時整體經學風氣所尚--以朱熹為宗、漸開漢宋兼爭之勢。不過，對於祭祖禮本義的理解，比對作為當時經學相關方面的代表人物--朱熹及其學派的陳澔、納蘭性德等人的觀點，在情、德、治三方面之外，朱熹等人並不否認祭祖求福、相信祖先能來格來饗，朱子甚至認為祭祖的本義之一，就是在於以祭祀之誠讓祖先的魂魄能夠得以安頓。以28篇與其所身處17世紀來華傳教士、教廷相較而言，耶穌會傳教士的觀點最與28篇相近，他們注意到祭祖禮在情、德方面對中國人的意義，認為仍有允許中國信徒奉行祭祀的價值。然而，多明我會、方濟各會傳教士則持定相反意見，他們的關注點不在於祭祖禮對中國人的意義、價值，而是禮儀中所存在的求福於祖先、相信祖先仍能來格來饗等成份，與天主教信仰相悖。至於教廷，則會按傳教士上呈的資料，而對祭祖禮是否仍能奉行於信徒之間，在答覆時作出相應的調整。立論方式上，除耶穌會與多明我會的萬濟國，會引用中國儒家經典作為討論依據外，托缽修會的傳教士主要是按眼見當時社會上祭祖禮情況作出判斷。雖然在論述過程中，28篇文獻一方面與明末清初經學主流對於祭祖禮本義的理解存在歧異，另一方面亦出現對經典的錯解、邏輯上的謬誤等若干不足；但是，不管是讓後世得以更全面地認識禮儀之爭這段歷史，抑或是為當代有關槍祭祖"問題的研究帶來參考與啟發，這批文獻皆具有重要的價值。Abstract The 28 documents, collected by the Society of Jesus Roman Archive, were written in 17th century by 14 authors. They were possibly the earliest Chinese scholar-believers that discussed with the western missionaries about the concept of ancestral offering ritual during the Chinese Rites Controversy. Since the ancestral offering ritual had been held negative attitude, the scholars had to write these documents for refuting. For the ancestral offering ritual, the authors mainly discussed the original meaning of ancestral offering ritual, and consider whether it is in contravention of the Catholic faith. They believed that ancestral offering ritual contained three elements: humanity(人情), morality(德育) and social order(治國). They neither looked for blessings from ancestors nor thought that the spirits of ancestors would be present to the ritual, thus, the ancestral offering and the offering sacrifice to God were different in nature. Though individual authors had different views on the state of the spirits of ancestors, they agreed that ancestral offering ritual should be allowed to continue to practice among Chinese believers. Most of the authors mainly used the Confucian Classics Approach(經學進路) to make their arguments. They took Confucian, especially the "Book of Ritual", and Zhu Xi of Song Dynasty as the main sources to present their.;arguments of ancestral offering ritual. However, apart from the three elements, Zhu did not deny that ancestral offering ritual was to seek blessings, and believed that the spirits of ancestors would be present to the ritual. Zhu even believed that ancestral offering ritual was for settling the spirits of ancestors. The view of the Society of Jesus was closed to that of the authors. They noted that the significances of ancestral offering ritual to Chinese people were more about humanity and morality, and thought that it was worthy for Chinese believers to practice the ancestral offering ritual. However, the Dominican and the Franciscan missionaries held of opposite view. Their concerns were not the significances and values of ancestral offering ritual, but the behaviour of seeking blessings from ancestors and the belief of the presence of the spirits of ancestors. In the Chinese Rites Controversy, the Society of Jesus and the Francisco Varo of Dominicans referred Confucian as the basis for their discussions. The Mendicant missionaries mainly depended on the situation at that time in the society to make judgments. The Vatican was only according to the information from missionaries to make corresponding judgments that whether the ancestral offering ritual was being allowed to practice among Chinese believers. Although there are discrepancies and some logical fallacies between the 28 documents and the Confucian Classics of Ming and Qing Dynasties about the understanding of the original meaning of ancestral offering ritual, these documents can bring great inspiration on the contemporary research of ancestral offering ritual and make a more comprehensive reorganization of the history of Chinese Rites Controversy.
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Al, Yat Law. "Merchants, seafarers and pirates: maritime societies of Southeast Fujian in the eyes of local officials from the late Ming period." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/473.
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Merchants, seafarers, pirates: the maritime societies of Southeast Fujian played a crucial role in maritime activities during the Ming Dynasty. Regarding the traditional discourse, scholars have discussed the elimination of wokou and local petty pirates during the late Ming period. This study proves otherwise via an extensive examination of the governance and management of the maritime societies implemented by the Ming regime and its local officials. This study considers how the local officials formed their judgements on the cases of seafaring population by examining court opinions and other historical materials. This study also reveals the identities and the cultural habits of the maritime societies. The findings show that the identities of the societies mentioned above were not formed in an arbitrary manner. In addition, wokou and local petty pirates still posed a great threat to the Southeast coast of Fujian during the closing decades of the Ming Dynasty and that the severity of pirate issues was mainly related to cultural habits of the maritime societies and the regime's governance.
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曾瑋彤. "論明清時期澳門詩詞中的天主教描寫 =The representations of Catholicism in Macau-themed poetry of the Ming and Qing dynasties." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690512.
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Vigneron, Frank. "Shen Zongqian : Jiezhou Xuehua Bian : un traité de peinture chinoise du XVIIIème siècle." Paris 7, 1998. http://www.theses.fr/1998PA070034.
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L'étude sur la peinture de "Bateau-grain de moutarde" (Jjiezhou xuehua bian) est un traité de peinture écrit à la fin du dix-huitième siècle par un peintre de paysages et de portraits nommé Shen Zongqian. De nouvelles informations sont données ici sur cet ouvrage fameux à l'auteur presque inconnu. Une présentation de l'environnement historique et socio-économique de la période, ainsi que sa vie intellectuelle et artistique, la première tentative d'une biographie de l'auteur, la première traduction intégrale du traité, une analyse de la théorie picturale et le premier catalogue raisonné de son œuvre peinte éclairera d'un jour nouveau l'histoire de la théorie picturale et le genre du portrait à la fin de la dynastie des Ming. Ce n'est pas seulement la clarté de sa structure qui met ce traité à part dans l'histoire de la littérature esthétique chinoise, mais aussi ses caractéristiques moins évidentes, comme le recours aux même méthodes analytiques sur tous les plans de la réflexion ainsi que le tour visiblement pédagogique et pratique de ses démonstrations. Cependant, au-delà des qualités intrinsèques de ce livre, c'est l'auteur lui-même en tant que peintre de portrait qui apporta à la théorie de la peinture orthodoxe un nouveau champ de recherches. Shen Zongqian, en consacrant la moitié de son livre au portrait et à la peinture de personnages, leur accorde autant d'attention qu'à la peinture de paysage. Ainsi, en donnant au portrait une base théorique, qui le rendrait plus acceptable à un public de lettrés, l'auteur essaya discrètement d'ouvrir la porte à un nouveau genre pour les peintres amateurs du dix-neuvième siècle. Grâce à cette nouvelle tournure d'esprit, annoncée dès la dynastie des Ming par une multitude de peintres qui s'adonnèrent au portrait, ce genre, traditionnellement considéré comme une discipline d'artisan, allait finalement être transformé au dix-neuvième siècle en une activité parfaitement légitime pour la classe des lettrés peintres amateursThe studies on painting of mustard seed-boat (jiezhou xuehua bian) is a treatise on painting written at the end of the eighteenth century by a landscape and portrait painter named shen zongqian. New informations are given here on this well-known book by an almost unknown author. A presentation of the period's historical and socio-economical environment, as well as its artistic and intellectual life, the first attempt at a biography of the author, the first complete translation of the treatise, an analysis of the painting theory and the first catalogue raisonne of his painted works will shed new lights on the history of painting theory and the genre of portrait painting at the end of the Qing empire. It is not only the clarity of its structure that puts this treatise apart in the history of chinese aesthetic literature, but also its less obvious qualities, like the use of a single analytical method on all the levels of its reflexion as well as the pedagogical and practical turn of mind of its demonstrations. Beyond the inner qualities of the book though, it is the author as a portrait painter who brought to the orthodox painting theory a new field of research. Shen Zongqian dedicates half of his book to portrait and figure paintings and gives them as much attention as landscape painting. Thus, by giving the portrait a theoretical basis, that would make it more readily acceptable to a literate audience, the author tried discreetly to open the door to a new genre for the amateur painters of the Nineteenth century. Thanks to this new frame of mind, heralded since the ming dynasty by a multitude of painters who turned to portrait, this genre, traditionaly considered as a craftsman's domain, was to be eventually transformed in the nineteenth century into a perfectly legitimate endevaour for the literati class of amateur painters
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Yan, Mei-lei Beryl, and 甄美梨. "A study of the Sanqu of Wang Jide (?-1623)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31225408.
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Cheung, Ka-chun, and 張嘉俊. "A study of Li Kaixian's sanqu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47869689.
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Li Kaixian (1502-1568), a scholar-official living in the mid-Ming dynasty, was renowned for his efforts in collecting books, both rare and common, and also for his talents in writing the literary genre called sanqu, a subcategory of the genre qu.
While qu consists of drama and sanqu, nonetheless the attention devoted to the latter has been much weaker than the former within the academic circle. In the case of Li Kaixian, his dramas such as The Tale of A Treasured Sword have been reviewed much more frequently than his sanqu compilations.
To fill up this gap, this thesis attempts to study in depth Li Kaixian?s sanqu. It is organized into 6 major chapters.
The first chapter comes with an introduction reviewing the status of Ming sanqu as a whole and its social-ideological background, including a literature review on the subject. To facilitate a better understanding of Li?s rationales in writing sanqu, the second chapter deals with his life and the themes of his sanqu. The third chapter is an analysis of his thoughts towards the writing of sanqu,
The fourth and fifth chapters mainly provide a critical review on Li?s sanqu, both thematically and aesthetically. The sixth chapter, a tentative evaluation of the status of Li?s sanqu, serves as the conclusion.published_or_final_version
Chinese
Master
Master of Philosophy
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Lanselle, Rainier. "Jin Shengtan (1608-1661) et le commentaire du Pavillon de l'ouest : lecture et interprétation dans une poétique de l'indirect." Paris 7, 1999. http://www.theses.fr/1999PA070091.
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La thèse examine la poétique élaborée par le critique Jin Shengtan (1608 - 1661) sur le Pavillon de l'ouest (Xixiangji) de Wang Shifu (vers 1300). Dans une première partie, elle étudie l'établissement de l’édition de l'œuvre par le poéticien, sa conception d'un art " théâtral" exclusivement destiné à la lecture, et la manière, très élaborée, dont il installe son commentaire au cœur même du texte, établissant ainsi un appareil critique sophistiqué capable d' << ausculter >> en profondeur les moindres détails du texte. Une deuxième partie se consacre à l'étude d'une poétique de l'indirect conçue comme reposant sur le mode de la naturalité. Le pavillon de l'ouest fait figure, aux yeux du poéticien, d'un <
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陳器文 and Chi-wen Chen. "A study of the ordeal stories in Chinese popularfictions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31236637.
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Zhang, Fang. "Stratégies d'éducation des élites économiques chinoises sous les dynasties Ming et Qing et depuis la politique de réforme et d'ouverture." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0053.
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Cette étude porte sur les élites économiques chinoises, étudiées sous l'angle de leurs stratégies d'éducation. Nous avons retenu les deux époques les plus représentatives de l'histoire économique de la Chine : la fin de la période du système impérial avec les dynasties Ming (1368-1644) et Qing (1644-1911) ; et la période qui suit la réforme et l'ouverture de la Chine aujourd'hui (1978. . . ). La Chine est devenue en 2011 la deuxième puissance économique mondiale. Le statut social des entrepreneurs demeure cependant inférieur à celui des fonctionnaires auxquels ils sont encore souvent inféodés. Nous avons montré que ces élites économiques ne veulent plus, comme sous les dynasties Ming et Qing, que leurs enfants deviennent fonctionnaires, mais plutôt des hommes d'affaires. Cependant ils demeurent très marqués par la culture traditionnelle et son sens des hiérarchies. Cela entraîne un manque de perspectives à long terme et explique que la stratégie d'éducation des élites économiques soit fluctuante, indécise et toujours très prudente dans ses rapports avec le pouvoir. Cette étude montre aussi que la plupart des enfants dont les parents appartiennent à l'élite économique et à l'élite des fonctionnaires reçoivent aujourd'hui une éducation occidentale. Ces jeunes qui vont hériter de la richesse de leurs parents, et qui sont déjà héritiers de leur idéologie, et d'une longue histoire, doivent à leur tour penser l'avenir et redéfinir leur rôle au sein d'une société chinoise en pleine mutation. Un défi considérableTo better understand the various phenomenon and questions around the Chinese economy, we need to further understand the Chinese entrepreneur. In this study, we place this issue in the context of Chinese history and social environment. We have chosen two groups of economic elites as research subjects: from the Ming (1368-1644) and Qing(l 644-1911) dynasties of the Chinese empire era, and today, following the policy of reform and opening up (1978. . . ). First, we need to make clear what the educations strategies are for both of these groups' successors. Then, we must examine their education strategies, as the main thread of this paper, by comparing them and analyzing the legal, political, and traditional context. By looking at what could impact their educational strategies, we can find the principle reasons for the differences between them. Both the content and the results of these educational strategies for their children give us a better understanding of the Chinese entrepreneur
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Berg, Dorothea Daria. "The Xingshi yinyuan zhuan : a study of utopia and the perception of the world in seventeenth-century Chinese discourse." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:a4525902-e40f-4ae9-85d9-7dd256568d69.
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The present project sets out to discover what the Xingshi yinyuan zhuan ('A Tale of Marriage Destinies that will Bring Society to its Senses'), an anonymous novel of manners from seventeenth-century China, can tell us about life in the world out of which it emerged. Seventeenth-century records depict China on the verge of modernity as a world torn between the traditional agricultural society and the new challenges of urban life, commerce and a money economy. The shifts from conventional norms and values gave rise to concepts of Utopia and anti-utopia: to nostalgia for the lost paradise of the past and to apocalyptic satire on present conditions. Scholars have noted the prominence of utopianism in seventeenthcentury fiction but no detailed study has been undertaken so far. Utopianism is here explored in terms of the indigenous Chinese traditions. The text of the Xingshi yinyuan zhuan is analysed to see how it perceives and reflects the seventeenth century Chinese world. Utopia serves as an analytical construct to recreate a glimpse of society and the moral evaluation of the world through the eyes of a contemporary observer. The body of the thesis analyses three major motifs in the Xingshi yinyuan zhuan: the healers, the elite and the mother. Critical comparison with other contemporary literary and historical sources attempts to place the novel into its context. The visions of Utopia and anti-utopia provide insight into the dreams and nightmares as seventeenth-century Chinese minds may have perceived them, shedding light on the vernacular culture as opposed to the officially recognised and imperially ordained culture of China.
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Luper, Edward Isaac. "Muddy waters : political tensions and indentity in the writings of Xu Wei (1521-1593)." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:55ced870-5835-4b7a-b4b7-ac61def1a116.
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The late Ming artist and poet Xu Wei (1521-1593) is most well known for his self-representation as a cultured "mountain hermit" and "eccentric", pursuing the literary ideals of originality, simple language and direct emotional expression. His wild ink-brush paintings, mental instability, numerous suicide attempts and the murder of his third wife all helped to consolidate Xu's image as China's Van Gogh. However, later hagiographies of Xu as the "patron saint of eccentrics" have led to a one dimensional view of Xu. This thesis presents Xu as someone who explored and wrestled with different and sometimes contradictory self-representations against a thorny political and social backdrop. It moves away from Xu's "eccentric" persona, instead examining his writings within the political context of the 16th century. Against the backdrop of Mongol and pirate invasions, Xu's close friend Shen Lian was executed by the Chief Grand Secretary Yan Song and his clique. Yet only a month after his friend's execution, Xu switched sides and worked as a ghost-writer for Hu Zongxian, a protégé of Yan Song. Yet with the fall of Yan Song in 1562 and the arrest of Hu Zongxian, this became an embarrassment for Xu. Fearing that he would be implicated with the Yan Song clique, Xu distanced himself from his flattering ghost-written poems. Overwhelmed by feelings of guilt, he explored the complexities of loyalty and identity in his poetry. Xu's career is representative of many Ming scholars who were frustrated by examination failure and the inability to find an official post. His literary ideals contradicted with lived reality. Xu is unique among Ming literati in voicing these contradictions.
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劉永琦. "題材與思想 :"三言" 中的明代話本研究 = A research on subject matter and thought of huaben fictions of Ming dynasty in San yan." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690590.
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Lee, Chao-Ying. "Les illustrations des "Mémoires concernant les chinois" (1776-1791) : comparaison des styles occidentaux et extrême-orientaux." Paris 1, 2004. http://www.theses.fr/2004PA010597.
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Cette grande collection des " Mémoires concernant les Chinois " naît dans un contexte où la compagnie de Jésus est déjà dissoute. Les illustrations font une rupture avec le style antérieur car elles copient ou empruntent directement aux sources chinoises, ce qui est très différent des représentations antérieures et contemporaines. Les représentations de l'antiquité de la Chine, style authentique chinois, montrent la position des jésuites dans le contexte de la querelle de l'antiquité de la Chine : les jésuites pensent que la civilisation chinoise est originale, contrairement à de nombreux érudits européens qui pensent que la civilisation chinoise n'est qu'un dérivé de la civilisation d'Egypte. L'insertion discrète de représentations européennes bibliques et antiques prouve que les jésuites veulent légitimer leur acceptation de rites locaux et défendre la " Querelle des rites ". Leur enjeu est religieux. Par contre, les représentations techniques et scientifiques, thèmes nouveaux voulus par Bertin, fidèles au style chinois mais , parfois aussi au style européen comme celui de l'Encyclopédie de Diderot, montrent une certaine identité européenne de l'image. Elles ont pour but politique d'emprunter à la Chine son modèle de gouvernement, d'agriculture, d'art militaire et d'art musical qui pourront initier des réformes en France. Le style de l'Encyclopédie occidentale dans le domaine des sciences naturelles dénote aussi l'aventure des échanges entre la Chine et l'Europe. La science chinoise est jugée inférieure à celle de l'Europe.
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Lafond, Jean-Philippe. "La bureaucratie impériale chinoise sous le regard jésuite aux 16e et 18e siècles." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27227/27227.pdf.
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Kao, Jung-Hsi. "La peinture lettrée traditionnelle renouvelée grâce à une utilisation nouvelle de la nature : l'exemple de Hong Ren et Shi Tao au début de la dynastie Qing." Paris 4, 2000. http://www.theses.fr/2000PA040025.
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Les historiens de l'art classent les peintres du début de la dynastie Qing en deux catégories : l'école orthodoxe et l'école individualiste. Les premiers cherchaient à imiter les peintres anciens maitres, les seconds tiraient leur inspiration de la nature, il est crucial de comprendre quels sont les rôles respectifs des traditions et de la nature par les artistes. Nous avons donc choisi deux peintres individualistes (i. E. Hong Ren et Shi Tao ) comme exemple, et allons montrer leur intérêt commun sur la nature. Nous verrons aussi comment leurs différentes personnalités (Hong Ren est introverti, selon la psychologie de Jung, alors que Shi Tao est extraverti) ont influencé leur propre style. La peinture de Hong Ren est calme et un peu froide, alors que celle de Shi Tao est plus dynamique et libre. Une telle différence a été explorée plus par W. Worringer dans sa théorie ; la distinction entre l'abstrait et l'empathie, en raison des différentes attitudes psychologiques envers la nature, ce qui pourrait être complète par une interprétation approfondie des principes dynamiques taoïstes du yin et du yang.
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Hiu, Yunyan. "La pensée de Hanshan Deqing (1546-1623) : une lecture bouddhiste des textes confucéens et taoïstes." Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0014/document.
Full textAbstract:
Hanshan Deqing 憨山德清 (1546-1623), est l’un des « Quatre moines bouddhistes éminents » de la fin de dynastie Ming, en Chine qui avaient pris conscience de l’importance et de la nécessité d’une conciliation entre les trois enseignements chinois que sont le bouddhisme, le confucianisme et le taoïsme. Ses annotations du Zhuangzi, du Daode jing, de l’Invariable Milieu et de La Grande Étude demeurent très importantes pour l’étude des tentatives de syncrétisme des trois enseignements. Il fut en effet le premier moine à avoir rédigé autant de commentaires des classiques taoïstes et confucéens afin de montrer que de nombreuses idées de ces deux enseignements d’origine chinoise sont similaires à celles de la pensée bouddhiste. Il est aussi l’auteur d’une dissertation qui démontre la possibilité du rapprochement entre les trois enseignements, tout en maintenant la précellence du bouddhisme. En étudiant de près tous ses commentaires non-bouddhistes et sa dissertation à propos des trois enseignements, nous avons constaté que le moine avait transformé la pensée taoïste et la pensée confucéenne en des doctrines quasi bouddhistes, proches tantôt du Grand Véhicule, tantôt du Petit Véhicule, en fonction des passages examinés. Certains concepts bouddhistes sont très récurrents dans ses commentaires non-bouddhistes. Hanshan Deqing montre que les auteurs des classiques taoïstes et confucéens qu’il annote avaient déjà pressenti l’importance des concepts qui sont au cœur de la pensée bouddhiste et permettent d’atteindre l’illumination ou de conduire des pratiques sotériologiques. À travers ces commentaires, on décèle l’intention de Hanshan Deqing : porter à la connaissance des lettrés, des taoïstes, voire des adeptes bouddhistes eux-mêmes, les procédures permettant d’accéder à l’Éveil, pour ensuite aider d’autres êtres à sortir de leur égarement et de leur attachement au mondeHanshan Deqing 憨山德清 (1546-1623) is one of the “Four Eminent Buddhist monks” of the late Ming dynasty in China who realized the importance and the necessity of the reconciliation between the three Chinese philosophies: Buddhism, Confucianism and Taoism. His annotations of the Zhuangzi, of the Daode jing, of the Doctrine of the Mean, of the Great Learning are of seminal importance in the attempt to fusion the three philosophies. He was indeed the first monk to have written so many commentaries of the Taoist and the Confucian classics in order to show that numerous thoughts of these two philosophies originating from China are similar to the ones of Buddhism. He is also the writer of a dissertation that demonstrates the possibility of establishing bridges between the three philosophies, even if he considers Buddhism as superior. Studying closely all his non-Buddhist commentaries and his dissertation about the three philosophies, we noticed that the monk had transformed the Taoist thought and the Confucian thought nearly into Buddhist doctrines, sometimes close to the Mahāyāna, sometimes close to the Hīnayāna, depending on the examined passages. Some Buddhist concepts are very recurrent in his non-Buddhist commentaries. Hanshan Deaing points out that the writers of the Taoist and Confucian classics that he annotates had already sensed the importance of the concepts which are at the heart of the Buddhist mind and enable to reach the enlightenment or the realization of the soteriological practices.Through these commentaries, we can discover Hanshan Deqing’s intention: to make the lettered persons, the Taoists or even the Buddhist disciples themselves aware of the procedures allowing them to reach the Awakening and then to help others beings to be released from their blindness and their attachment to the world