Relevant bibliographies by topics / Chinese Epitaphs

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Chinese Epitaphs'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Chinese Epitaphs"

1

Kexian, Hu, and Yuan Zhang. "Tao Yuanming in Recently Unearthed Epitaphs from the Sui and Tang." Journal of Chinese Literature and Culture 6, no. 2 (November 1, 2019): 461–82. http://dx.doi.org/10.1215/23290048-8042016.

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Abstract A recently discovered collection of epitaphs (muzhi 墓誌) reveals copious references to Tao Yuanming (Tao Qian 陶潛, 365–427), a writer of pervasive influence on Chinese culture. In recent decades, both English and Chinese scholarship has focused on Tao's literary and historical reception, with little attention paid to his representation in epitaph writing. This article, through an examination of these newly unearthed documents, presents forty-seven epitaph fragments with direct mention of Tao's name. Most were written in the Tang dynasty, when Tao was ardently appreciated as a poet, and his literary vocabulary was widely borrowed and imitated. However, a close reading of epitaphs illustrates that Tao's image as a moral exemplar was perhaps even more prominent than his role as esteemed poet. He was invoked to suggest the comparable personal traits of the tomb owner (muzhu 墓主), his name frequently juxtaposed with various historical figures renowned for their virtue. His name is also used as an adjective to modify carefully selected images to further characterize him as a moral exemplar. In Tang epitaphs, moral concerns together with philosophical contemplation on the motives of reclusion play a significant role, laying the foundation for the complexity of Tao's image in the Song period. Current research seeks to increase our understanding of the process behind the construction of Tao as a cultural icon.
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2

Halperin, Mark. "Explaining Perfection: Quanzhen and Thirteenth-century Chinese Literati." T’oung Pao 104, no. 5-6 (December 10, 2018): 572–625. http://dx.doi.org/10.1163/15685322-10456p05.

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AbstractThe Quanzhen Daoist order stands as the most dynamic religious element in north China of the tumultuous thirteenth century. Drawing on funeral epitaphs and abbey commemorations, this article illustrates how famous and obscure Confucian scholar-officials interpreted the order’s remarkable success in various ways. Some credited Quanzhen with pruning Daoism of its post-Han dynasty excrescences and reviving the heritage’s basic teachings. For others, Quanzhen marked simply the latest chapter in Daoism’s undimmed heroic history. A third group pointed to the order’s ascetic discipline, which as a matter of course attracted elite and mass devotion. Significantly, epitaphs and commemorations composed by Quanzhen writers sounded similar themes, suggesting that the learned laity and clergy shared a common discourse casting the order as a force for Han culture during foreign occupation.
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Yao, Ping. "Good Karmic Connections: Buddhist Mothers in Tang China." NAN NÜ 10, no. 1 (2008): 57–85. http://dx.doi.org/10.1163/138768008x273719.

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AbstractThis essay examines the women's role in Chinese Buddhism through a close reading of epitaphs from the Tang dynasty (618-907). During this period, more than ever before, the religion became instrumental in the development of mothers' identity and in the conceptualization of ideal maternal virtues. According to many Tang dynasty epitaphs (muzhi ming), it would appear that children of Buddhist mothers largely complied with their mothers' desire to leave the household life or to be cremated rather than buried after her death. They were also much more likely than children of Buddhist fathers to become Buddhist believers themselves. What these epitaphs show is that Tang mothers played a vital role in the continuing sinification of Buddhism through the spread of religious devotion and practice in the domestic sphere.
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Pursey, Lance. "Tents, Towns and Topography: How Chinese-Language Liao Epitaphs Depicted the Moving Court." Journal of Song-Yuan Studies 48, no. 1 (2019): 177–206. http://dx.doi.org/10.1353/sys.2019.0004.

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Finnane, Antonia. "The Origins of Prejudice: The Malintegration of Subei in Late Imperial China." Comparative Studies in Society and History 35, no. 2 (April 1993): 211–38. http://dx.doi.org/10.1017/s0010417500018351.

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The convention for introducing biography in the Chinese textual tradition is to identify the subject not only by his name but also by his native place. The classic formula used for this purpose is set out in the preface to “The True Story of Ah Q,” in which Lu Xun remarks that “when writing biography, it is the usual practice to begin ‘so-and-so, from such-and-such place’ ” (Lu 1959 [1921]: 93). This formula was adopted in official documents, popular stories, obituaries and tomb epitaphs as well as in formal biographies or biographical notices. There were variations in its form, in which the person was identified as being “native of this place, living in that place” or “originally of this place, now of that place.” But in any event, a man was, and still is, normally identified by both his personal name and the name of his place of origin, just as a woman was usually identified by the names of her father and her husband. The problem for Lu Xun as fictional biographer was that Ah Q's name was a matter of debate and his place of origin unknown: He floated unmoored through Chinese society.
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Hayward, Sandra F. "Colonial Expressions of Identity in Funerals, Cemeteries, and Funerary Monuments of Nineteenth-Century Perth, Western Australia." Genealogy 2, no. 3 (July 18, 2018): 23. http://dx.doi.org/10.3390/genealogy2030023.

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A general cemetery was established in 1829–1830 for the town of Perth, Western Australia, and during the rest of the nineteenth century, other cemeteries were added to the complex to cater for various Christian denominations as well as for Chinese and Jewish communities. In all, seven contiguous cemeteries were used over the colonial period in Perth. By 1899, when the cemetery complex was closed, approximately ten thousand people were buried there. The deceased or their bereaved loved ones chose funerals, epitaphs, burial locations, and funerary monuments to express social, ethnic, religious, familial, and gendered identity. These expressions of identity provide more information than just birth and death dates for genealogists and family historians as to what was important to the deceased and their family. In the first half of the nineteenth century, identities were dominantly related to family, whereas later in the century, identities included religion, ethnicity, and achievements within the colony of Western Australia. Some expressions of identity in Perth contrast with those found in other Australian colonies, especially in regard to the use and types of religious crosses in the Christian denominations.
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7

Escher. "New Information on the Degree of “Sinicization” of the Tuyuhun Clan during Tang Times through Their Marriage Alliances: A Case Study Based on the Epitaphs of Two Chinese Princesses." Journal of Asian History 53, no. 1 (2019): 55. http://dx.doi.org/10.13173/jasiahist.53.1.0055.

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8

Bo, Bi, Nicholas Sims-Williams, and Yan Yan. "Another Sogdian–Chinese bilingual epitaph." Bulletin of the School of Oriental and African Studies 80, no. 2 (April 10, 2017): 305–18. http://dx.doi.org/10.1017/s0041977x17000489.

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AbstractTwo stone tablets in the Wangye Museum, Shenzhen, contain a bilingual Sogdian and Chinese epitaph for a Sogdian merchant and his wife, who lived in the northern Chinese city of Ye 鄴 in the late sixth centuryce. The two texts are published here for the first time and accompanied by a detailed commentary on philological and historical points of interest.
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Xu, Jin. "A Journey across Many Realms: The Shi Jun Sarcophagus and the Visual Representation of Migration on the Silk Road." Journal of Asian Studies 80, no. 1 (January 12, 2021): 145–65. http://dx.doi.org/10.1017/s0021911820003617.

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The Shi Jun sarcophagus (580 CE), a house-shaped stone coffin of a Sogdian immigrant couple, is one of the most important Silk Road discoveries ever made (figure 1). Excavated in Xi'an (Shaanxi Province, China) in 2003, it belongs to a group of sarcophagi created for Sogdian community leaders in sixth-century China that have been uncovered over the course of the past century, primarily in the last two decades. The Shi Jun sarcophagus sets itself apart from the others with an epitaph inscribed in both Chinese and Sogdian. The epitaph recounts the migration of a Sogdian couple from Central Asia to the Chinese heartland. Even more unusual than this inscription is the exterior of the sarcophagus, which is carved with a continuous sequence of narrative reliefs. These represent the deceased's multifaceted journey on the Silk Road.
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Nam, Jongjin. "The Chinese traditional buried epitaph's change and stylistic establishment." EASTERN CLASSIC STUDIES 38 (February 28, 2018): 111–36. http://dx.doi.org/10.25086/hsdy.2018.38.111.

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Dissertations / Theses on the topic "Chinese Epitaphs"

1

Chih-Pi, Chang, and 張致苾. "The Chinese Calligraphy of the Epitaphs of Tang Dynasty." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/59191738347991530912.

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博士
國立臺中教育大學
語文教育學系碩博士班
102
Chinese calligraphy is the spirit of Chinese culture, and the art of Chinese calligraphy reaches the perfection as the development of regular script in Tang Dynasty. The carved epigraph on grave monument originally was served as funeral oration and thanksgiving offering. Nowadays, it not only provides an important paradigm to imitate, to learn and to study the Chinese calligraphy, but also is served as the archaeological materials for studying the beauty of carving and calligraphy. This study aimed to investigate the development of Chinese calligraphy in Tang Dynasty and its impact on carved epigraphs. The research material included the grave monuments discovered in Xi'an (西安) and Luoyang (洛陽), which are the capitals of Tang Dynasty. Some of these grave monuments are famous, such as the funerary goods in Emperor Taizong of Tang’s mausoleum (昭陵), Yuan yang qi zhi zhai (鴛鴦七誌齋) from Mr. Yu’s collection and The 1,000 Tang Zhai (千唐誌齋) from Mr. Zhang’s collection. With the analysis of historical research, textual analysis and statistical methods among grave monuments, the results suggested five major conclusions. First, the grave monuments discovered in Xi'an and Luoyang have high quality and quantity. Second, the civilian in Tang Dynasty mostly participated their funeral epigraph writing and editing. Third, most of the carved epigraphs were presented in regular script; in contrast, the epigraphs carved with semi-cursive and cursive scripts were least. Forth, the newly-created words of the Wu's Zhou Dynasty and the wrongly written characters were summarized in the late Tang Dynasty. Finally, Zhang Xu (張旭) and Yan Zhenqing (顏真卿) are the great master of calligraphy with their works becoming excellent paradigm. At the end of the research, author hopes that more civilians could put their efforts on the popularization of carved epigraphs through this study. Author also introduced 10 selected carved epigraphs as paradigm for imitating and learning the Chinese calligraphy
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2

Chiu, Kuo-Fong, and 邱國峯. "The Researches of epitaph and the calligraphy – a sample with Sogdians who are located in Chinese epitaph in the sixth to seventh century." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/zxqe3p.

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碩士
國立臺北藝術大學
美術史研究所
98
Abstract In China, the epitaph is an extraordinary mortuary object. Its functions include history, archaeology and calligraphy display. However﹐research on epitaph and the calligraphy are limited. Consequently this paper is centered on Sogdians who are located in Chinese epitaph and discusses special epitaph and the calligraphy in the tomb. This research is constructed with five sections. The first chapter builds up basic knowledge, including history of Sogdians, epitaphs forms and to development and calligraphy history . The second chapter focuses on works; first﹐it proves the epitaphs owner was a Sogdian. Second, it can not be clearly detailed so only epitaphs content can be adopted to determine the owner .The research on epitaphs cover and the calligraphy is the subject of the third chapter . The fourth chapter is to discuss the epitaph and the calligraphy in the tombs and a conclusion is made in final chapter.
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3

"The English Translation of the Epitaph of the Wu Kingdom Transcendent Duke Ge of the Left Palace of the Grand Bourne by Tao Hongjing." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57263.

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abstract: This thesis is a translation and analysis of the “Epitaph of the Wu Kingdom Transcendent Duke Ge of the Left Palace of the Grand Bourne” (Epitaph below). The author was Tao Hongjing (456 CE-536 CE). The subject of this Epitaph inscribed on a stele was Ge Xuan (trad. 164 CE-244 CE). Ge Xuan had two titles attributed to him by later Daoists. According to the Lingbao scriptures, Ge was appointed by the Perfected of Grand Bourne, a heavenly title. Later, in the Shangqing scriptures, Ge Xuan was said to be an earthly transcendent without any heavenly appointment. This debate occurred before Tao Hongjing began to write. This stele epitaph is essential, as it records sayings from both Lingbao and Shangqing scriptures. By reading this translated epitaph, scholars can know more about different versions of Ge Xuan's legend, as well as how Ge Xuan's legend was constantly rewritten by later Daoists.
Dissertation/Thesis
Masters Thesis Religious Studies 2020
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4

Cui, Ling, and 崔玲. "Research on the Culture of Epitaph and Mural Painting of the Tombs of the Chinese Aristocratic Families in 10th to Mid—11th Century Khitan Liao Dynasty of China." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/xgrtnw.

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博士
國立政治大學
歷史學系
107
Through a research into the epitaphs and mural paintings of the Han Chinese aristocratic families within the Liao Dynasty, unearthed in the northern part of China, this thesis examines the funerary culture of the Han immigrants under the Liao regime, in which Khitan nobles were the ruling class during the tenth to the mid-eleventh century. From the perspective of Han Chinese aristocratic families entering Liao territory, it studies the interactions between Han culture and the nomadic culture of Khitan, and proposes to deepen the "Sinicization" (漢化) and "Khitanization" (契丹化) paradigms with the "hybrid culture" paradigm when interpreting Chinese funerary culture of multi-ethnic groups under the Liao dynasty. The first chapter is the introduction, which elucidates the reasons, methodologies and procedures in studying the epitaph and mural culture of Han aristocratic families during the first half of the Liao dynasty. It does so from three perspectives: material culture, Chinese migration, and regional characteristics of Liao dynasty. The second chapter begins from the causes of the emergence of a "hybrid culture", and analyzes the context of Chinese immigration, especially the social mobility, social networks, and the characteristics of the burial places of Han aristocratic families. The third chapter discusses the features of Han aristocratic families’ epitaphs, and explains the changes after the epitaph of the Liao Dynasty. This chapter uses a considerable number of Chinese and Khitanese epitaphs to understand the evolution of tomb culture and epitaph culture under the "hybrid culture" of these families. It discusses the hierarchy, content, function, and decorations of the epitaphs of Chinese immigrants, and explains the cultural interactions between Han immigrants and Khitan nomads. The fourth chapter analyzes the regional development and ritual characteristics of the murals in the Han aristocratic families’ tombs. This chapter analyzes the structure and differences of mural tombs in Nanjing Circuit (南京道), Xijing Circuit (西京道), Zhongjing Circuit (中京道) and Shangjing Circuit (上京道) areas of the Liao Dynasty, and reveals the role of immigrant culture within the development of the Liao territory and the regional characteristics of "hybrid culture". Finally, the fifth chapter summarizes the interactions between Chinese immigrants’ culture and nomadic culture, and concludes with a discussion of the narratives and meaning of "hybrid culture" as seen in the epitaph and murals. In summary, the epitaphs and murals became one of the visual, material, and cultural symbols that represent the "hybrid culture" of the Liao dynasty.
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Books on the topic "Chinese Epitaphs"

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Luling gu bei lu: Lulinggubeilu. Nanchang Shi: Jiangxi ren min chu ban she, 2007.

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Beijing Liao Jin Yuan ta pian ji. Beijing Shi: Beijing Yanshan chu ban she, 2012.

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Sui Tang chu tu mu zhi wen zi yan jiu ji zheng li. Jinan: Qi Lu shu she, 2007.

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Guangxi shi ke zong ji ji jiao. Beijing Shi: She hui ke xue wen xian chu ban she, 2014.

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San Jin shi ke da quan: Jincheng Shi Qinshui Xian juan. Taiyuan Shi: San Jin chu ban she, 2012.

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San Jin shi ke da quan: Taiyuan Shi Gujiao Shi juan. Taiyuan Shi: San Jin chu ban she, 2012.

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Chengming, Ma, ed. Liu chao mu zhi jian yao. Shanghai: Shanghai shu hua chu ban she, 1985.

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Nanying gu bei zhi. Tainan Xian Xinying Shi: Tainan Xian wen hua ju, 2001.

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Xiamen mu zhi ming hui cui. Xiamen: Xiamen da xue chu ban she, 2011.

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Chengming, Ma, ed. Liu chao mu zhi jian yao. Shanghai: Shanghai shu hua chu ban she, 1985.

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Book chapters on the topic "Chinese Epitaphs"

1

"Sources of Ninth-Century Excavated Epitaphs." In The Destruction of the Medieval Chinese Aristocracy, 250–52. BRILL, 2014. http://dx.doi.org/10.1163/9781684170777_011.

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Bush, Susan. "Labeling the Creatures: Some Problems in Han and Six Dynasties Iconography." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0003.

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Fantastic beings proliferate in pre-Han and Han literature and are represented in a variety of forms up through the Six Dynasties period. They pose some problems of identification and classification for both ancient and modern scholars. Thus different sources specify various bird or animal forms for Feilian, the Wind Earl. Chiyou, another pre-Han rebel, now appears as a warlike monster leading a troupe of storm spirits. These thunders of Southeast China do have specific names on one Northern Wei epitaph tablet of 522. Elsewhere auspicious or apotropaic inscriptions on paired messenger birds and evil-averting tomb protectors are often interpreted as names even though archaeological evidence may suggest otherwise. The Chinese “unicorn,” a creature that resists classification, comes to resemble its mate, the “lion.” In general, the forms and functions of mythical beings are established in this period.
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