Journal articles: 'Chinese ritual'

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Sterckx, Roel. "An Ancient Chinese Horse Ritual." Early China 21 (1996): 47–79. http://dx.doi.org/10.1017/s0362502800003400.

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This article examines a section in the Shuihudi 睡虎地 Rishu 日書 (Daybooks) entitled “Horses” (ma 馬) which describes the instructions for the performance of a ritual to propitiate a horse spirit. The text is one of the earliest transmitted ritual liturgies involving the treatment of animals. It reveals a hitherto little known aspect of the role of animals in early Chinese religion; namely, the ritual worship of tutelary animal spirits and the performance of sacrifices for the benefit of animals. Furthermore, it corroborates the existence of magico-religious rituals involving the treatment of animals, and demonstrates that cultic worship of animal spirits, criticized by some masters of philosophy, was part of the religious practices of the elite in the late Warring States and early imperial period. The article presents an annotated translation of the “Horses” section, discusses its contents and significance in relation to equine imagery documented in received sources, and examines its value as a source for the perception of animals and animal ritual in late Warring States and early imperial China.

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Hornbeck, Ryan G., Brianna Bentley, and Justin L. Barrett. "Examining Special Patient Rituals in a Chinese Cultural Context: A Research Report." Journal of Cognition And Culture 15, no. 5 (November 11, 2015): 530–41. http://dx.doi.org/10.1163/15685373-12342164.

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Is reasoning about religious ritual tethered to ordinary, nonreligious human reasoning about actions? E. Thomas Lawson and Robert N. McCauley’s ritual form hypothesis (rfh) constitutes a cognitive approach to religious ritual – an explanatory theory that suggests people use ordinary human cognition to make specific predictions about ritual properties, relatively independent of cultural or religious particulars. Few studies assess the credibility ofrfhand further evidence is needed to generalize its predictions across cultures. Towards this end, we assessed culturally Chinese “special patient” rituals in Singapore. Our findings strongly supportrfhpredictions for special patient ritual repeatability, reversibility, sensory pageantry and emotionality.

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Hao, Pengcheng. "The Interaction of Virtue and Ritual in Chinese Politics." BCP Social Sciences & Humanities 16 (March 26, 2022): 642–45. http://dx.doi.org/10.54691/bcpssh.v16i.524.

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The word "virtue" is the core idea in Chinese political tradition, while "ritual" is the institutional shell in which the idea is implemented into the real political order. As the primary pair of opposites in political governance, virtue and ritual have been influencing each other and interacting with each other from the moment of their creation. The abstract ideal concept of virtue is constantly externalized into a concrete ritual system, and the external form of ritual constantly acquires abstract meaning. Political governance encompasses almost every aspect of human life, and the concept of virtue eventually becomes an omnipresent spirituality, while rituals become an all-encompassing cultural system in the interaction with virtue.

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Liu, Huwy-Min Lucia. "Ritual and pluralism: Incommensurable values and techniques of commensurability in contemporary urban Chinese funerals." Critique of Anthropology 40, no. 1 (January 8, 2020): 102–24. http://dx.doi.org/10.1177/0308275x19899447.

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The default funeral in Shanghai today consists of religious variations of a secular socialist civil ritual. Within this ritual, however, is a clear paradox: how can one create religious “variations” of a secular and socialist funeral that explicitly denies any recognition of spirits or the afterlife? How do socialist, religious, Confucian, and even Christian ideas of personhood and death become commensurable in one single ritual? This paper explores the relationships between incommensurable values through commemorations of the dead in Shanghai. This article not only shows how a single ritual can realize multiple seemingly incommensurable values but also details two different techniques for making such incommensurable values commensurable. My findings show that what makes value pluralism possible depends on how people conceptualize rituals. When people see rituals as following social conventions, there is more space for pluralism, but when people treat rituals as making personal testimonies, the possibility for pluralism decreases.

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Herrmann-Pillath, Carsten, Xingyuan Feng, and Man Guo. "Entrepreneurs and ritual in China's economic culture." Journal of Institutional Economics 15, no. 5 (May 9, 2019): 775–89. http://dx.doi.org/10.1017/s1744137419000201.

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AbstractCulture, mainly defined as values and beliefs, has recently attracted much attention in economics. Cultural practices receive less attention, as emphasized in anthropology. We argue that the notion of ‘ritual’ can enrich economic research on culture as a specific form of socially standardized interactions that create shared contexts and emotions to build mutual trust and community. China is an important case in point, because ritual is a central concern in common interpretations of traditional Chinese culture. We look at practices of Chinese entrepreneurs that activate rituals in various settings. We conclude that these phenomena can be analytically condensed in the cultural complex of a ‘ritual economy’.

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Nafsichah, Diyah Dariyatul, Djoko Saryono, and Sunoto Sunoto. "Pemertahanan Kebudayaan Tionghoa Bangka Melalui Ritual Lok Thung Dalam Cerpen Karya Sunlie Thomas Alexander." Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan 6, no. 10 (October 15, 2021): 1615. http://dx.doi.org/10.17977/jptpp.v6i10.15069.

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Abstract: Sunlie Thomas Alexander is one of the writers of Chinese descent who raised the world of Chinese Bangka. One of his interesting short story is "Jelaga hio". In the short story, Alexander illustrates clearly how people of Chinese descent in Bangka maintain culture through a lok thung rite. With literary anthropology, the short story can be seen how the preservation of Bangka Chinese community culture through lok thung rituals. Referring to this approach, the research data is in the form of idiographic data in the form of text excerpts. The Lok Thung ritual is the identity of the Chinese community in Bangka originating from ancestral lands. With the lokthung ritual still held, the preservation of Bangka Chinese culture is maintained. In addition, through the lokthung ritual, cultural inheritance also occurs with the successors of the descendants of lok thung.Abstrak: Sunlie Thomas Alexander merupakan salah satu seorang penulis keturunan Tionghoa yang mengangkat dunia Tionghoa Bangka. Salah satu cerpennya yang menarik adalah “Jelaga Hio”. Dalam cerpen tersebut, Alexander menggambarkan dengan jelas bagaimana orang-orang keturunan Tionghoa di Bangka mempertahankan kebudayaan melalui sebuah ritus lok thung. Dengan antropologi sastra, dalam cerpen tersebut dapat diketahui bagaimana pemertahanan kebudayaan komunitas Tionghoa Bangka melalui ritual lok thung. Merujuk pada pendekatan tersebut, maka data penelitian ini berupa data idiografis yang berupa kutipan teks. Ritual lok thung merupakan identitas komunitas Tionghoa di Bangka yang berasal dari tanah leluhur. Dengan masih diadakannya ritual lokthung, maka pemertahanan kebudayaan Tionghoa Bangka tetap terjaga. Selain itu, melalui ritual lokthung, pewarisan kebudayaan juga terjadi dengan adanya penerus-penerus keturunan lok thung.

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Ruan, Ji. "Ritual Capital." Asian Journal of Social Science 45, no. 3 (2017): 316–39. http://dx.doi.org/10.1163/15685314-04503005.

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This research focuses on the use of guanxi (Chinese personal connections) in everyday urban life. Although there is much research focused on guanxi, little is known about the specific tactics of developing and using guanxi in Chinese urban society. The study presented here aims to fill this gap. Data was drawn from two ethnographic studies of school place allocation in two Chinese cities during 2012 and 2013. The research finds that ritual is vital in all forms of la guanxi (instrumental guanxi practice) and that ritual exists at almost every stage of this process. The practice of ritual becomes an important way of using and developing one’s guanxi capital, and “instrumental li” is the shared value behind ritual practice in guanxi. Based on this finding, a new concept called “ritual capital” is proposed. This refers to a part of an individual’s social capital that is mainly established and maintained by the practice of proper ritual; namely, the ability to use ritual for resources or benefits.

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Kepirianto, Catur, Siti Mariam, and Vanessa Febe Purnomo. "Food Offering Culture at Chinese Rituals in Semarang Chinatown Coastal Community." E3S Web of Conferences 317 (2021): 01028. http://dx.doi.org/10.1051/e3sconf/202131701028.

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Food offering culture in Chinese ritual activities is a form of local wisdom in the religious system and as a medium of communication with Gods and ancestors. Food offerings in Semarang Chinese coastal community rituals are knowledgeable to increase people's awareness of religious consciousness, religious tourism, and culinary culture, especially local language, environmental and cultural identity. The research purpose is to describe various food names and offerings at Chinese ceremonies and ritual activities. It is descriptive qualitative research and refers to the theory of naming systems and meaning as symbols. The research applies observing, collecting, processing, and analyzing data. The research findings describe ritual and cultural ceremonies and celebrations in Semarang Chinatown, such as Chinese New Year, Ceng Beng ritual, festival rebutan, and eating Bakcang celebration. Food offerings imply specific meanings. Kue moho in the Cap Go Meh celebration is a symbol of much luck and fortune. Bakpao symbolizes joy and gentleness. Kue keranjang is a symbol of prosperity. Eating rice cake symbolizes long life and prosperity. Sweets are symbols of the sweet life. Citrus fruits symbolize harmony, and bananas are symbols of prosperity.

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Wu, Yue, Hui’e Liang, Yijun Shen, and Qianling Jiang. "The Ritualization of Classic Confucian Spirit of Jing (Reverence and Respect): Evidence from Traditional Chinese Capping Ritual." Religions 13, no. 10 (October 19, 2022): 989. http://dx.doi.org/10.3390/rel13100989.

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In ancient China, all moral concepts are based on Li禮 (ritual). Jing敬 (reverence and respect) is one of the core categories of Confucian ritual spirituality and has rich ideological connotations. This study discusses how Confucianism realizes the ritualization of jing and constructs its symbolic system in the capping ritual to strengthen adult consciousness and social responsibility. First, based on relevant classic texts, we clarify the internal relationship between traditional ritual spirituality and jing. Then, we present an overview of the coming-of-age ceremony and discuss how religious beliefs and rituals incorporate Confucian ethical values and aesthetics. Finally, from the ritual uses of time, space, and behavior, we examine the meaning of jing in the specific practice of the traditional Chinese capping ritual and how it is conveyed to participants and observers through ritual implements and behaviors. The results show the capping ritual as an important life etiquette, and Confucianism injects the spirit of jing into every phase to cultivate an emotional response that will instantiate a moral ideal applicable to individuals and the state. In complex, modern societies, it is important to condense the Confucian spiritual connotation of jing and integrate it into modern coming-of-age rites.

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Kádár, Dániel Z., and Juliane House. "Ritual frames." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 30, no. 1 (December 3, 2019): 142–68. http://dx.doi.org/10.1075/prag.19018.kad.

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Abstract Our study provides a corpus-based contrastive pragmatic investigation of the expressions please in English and qing 请 in Chinese. We define such expressions as ‘ritual frame indicating expressions’ (henceforth RFIEs) and argue that RFIEs are deployed in settings where it is important to show awareness of the rights and obligations. ‘Ritual frame’ encompasses a cluster of standard situations. On the one hand the corpus-based investigation of ritual provides an innovative complement to sociopragmatic approaches to ritual behaviour because they reveal how RFIEs that indicate ritual spread across a cluster of standard situations. On the other hand, it allows the researcher to contrast the scope of ritual across lingua-cultures by comparatively looking into the standard situations in which a particular RFIE is deployed. Findings of our data analysis point to intriguing differences between English and Chinese RFIEs, as well as relevant lingua-cultural reasons behind such differences.

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Suryadi, Fitria Ferliana, and Suzy S. Azeharie. "Tatung Sebagai Budaya Masyarakat Tionghoa (Studi Komunikasi Ritual Tatung di Singkawang)." Koneksi 4, no. 1 (March 22, 2020): 90. http://dx.doi.org/10.24912/kn.v4i1.6615.

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This research is titled Tatung as a Cultural Part of the Chinese Community (Tatung Ritual Communication Study in Singkawang). The purpose of this study is to determine Tatung which is considered by the Chinese community in Singkawang, as a culture and to know the ritual communication carried out by Tatung in Singkawang. Tatung is a person who is possessed by the spirit of Dewa to help the Chinese community in Singkawang who are in need, such as asking about their wedding date, health, career and future. This thesis uses ethnographic methods to describe and discover the hidden knowledge of a culture or community. This thesis uses descriptive qualitative methods. Research Data obtained from non participant observation on Tatung in Singkawang, semi-structured interview with one Key informant and three additional informant in Singkawang, library study and document study. The theory used in the study was the ritual communication of Eric W. Rothenbuhler stating that ritual communication is part of the use of symbols. Rituals are always identical to habits or routines. Ritual as a hereditary action, formal action and containing transcedental values. The conclusion of this research is Tatung is a cultural part of Singkawang because the Chinese people in Singkawang strongly believe in Tatung from generation to generation and the majority of Chinese in Singkawang Confucian religion. Penelitian ini mengangkat Tatung sebagai bagian dari budaya masyarakat Tionghoa. Tujuan penelitian ini adalah untuk mengetahui Tatung yang dianggap oleh masyarakat Tionghoa di Singkawang sebagai budaya dan komunikasi ritual yang dilakukan oleh Tatung di Singkawang. Tatung merupakan orang yang dirasuki oleh roh dewa untuk membantu masyarakat Tionghoa yang membutuhkan, seperti menanyakan tanggal pernikahan, kesehatan, karir dan masa depan. Penelitian ini menggunakan metode etnografi untuk mendeskripsikan dan menemukan pengetahuan tersembunyi suatu budaya atau komunitas. Data penelitian diperoleh dari observasi non partisipan pada Tatung di Singkawang, wawancara semi terstruktur dengan satu key informan dan tiga informan tambahan di Singkawang, studi pustaka dan studi dokumen. Teori yang digunakan dalam penelitian adalah komunikasi ritual dari Eric W. Rothenbuhler yang menyatakan bahwa komunikasi ritual merupakan bagian dari pemaknaan simbol. Ritual selalu identik dengan kebiasaan atau rutinitas. Ritual sebagai suatu aksi turun-temurun, aksi formal dan mengandung nilai-nilai transendental. Penelitian ini menyimpulkan bahwa Tatung merupakan bagian budaya di Singkawang karena masyarakat Tionghoa di Singkawang sangat percaya terhadap Tatung dari generasi ke generasi dan mayoritas Tionghoa di Singkawang beragama Konghucu.

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Wang, Ch'iu Kuei. "Studies in Chinese Ritual and Ritual Theatre: A Bibliographical Report." CHINOPERL 18, no. 1 (June 1995): 115–29. http://dx.doi.org/10.1179/chi.1995.18.1.115.

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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.

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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.

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Limantara, Clarence Finlay. "The Roles of Event Organizers in Arranging Chinese-Indonesian Wedding Rituals." K@ta Kita 8, no. 2 (October 28, 2020): 212–18. http://dx.doi.org/10.9744/katakita.8.2.212-218.

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Nowadays, Chinese-Indonesians have already been modernized and many of them do not understand what rituals they have to undergo on their wedding day. It becomes a good opportunity for event organizers (EO) to do their businesses in arranging weddings. In this research, I am interested in finding out about the roles of event organizers in arranging Chinese-Indonesian wedding rituals. This study focuses on the roles of EO in running their business and arranging Chinese wedding rituals using the theory of consumerism. In consumerism, Chinese-Indonesian wedding rituals as a part of culture, can also be regarded as a product to be bought and sold. The data collected are from interviews with some EOs in Surabaya to find out the roles of EO in arranging Chinese-Indonesian wedding rituals. There are three different roles of EO, which are informant, organizer, and seller. Moreover, EO has the responsibility in succeeding the client’s wedding day.Keywords: Commodity, Consumerism, Event Organizer, Chinese-Indonesian, Wedding Ritual.

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Sun, Yikang, I.-Wen Wu, and Rungtai Lin. "Transforming “Ritual Cultural Features” into “Modern Product Forms”: A Case Study of Ancient Chinese Ritual Vessels." Religions 13, no. 6 (June 6, 2022): 517. http://dx.doi.org/10.3390/rel13060517.

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Antique relics represent a part of the rich history and cultural heritage of a nation, region, or country, and serve as great inspiration for the creation of unique cultural and artistic products. This article explores the meaning of the transition from “ritual cultural features” to “modern product forms”. By elucidating the rituals (connotation) and forms (denotation) of these cultural characteristics, this article attempts to illustrate how to transform these characteristics into modern products that are tailored to meet the needs of contemporary consumer markets. The specific objects chosen for this study are the “ritual vessels” used in various ceremonial activities in ancient China. Specifically, this study discusses the form of the “ritual vessels”, the meaning of their cultural significance, and their use scenarios. Lastly, this article introduces a cultural product design model based on the relationship between “form” and “ritual”, which seeks to offer a valuable reference for designers of cultural and creative products in the design of modern products that adhere to the continuation of cultural attributes. Moreover, we hope this article will also serve as an inspiration for how designers can use their creative thinking to discover traditional cultures’ advantages.

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Andersen, Poul. "Concepts of Meaning in Chinese Ritual." Cahiers d'Extrême-Asie 12, no. 1 (2001): 155–83. http://dx.doi.org/10.3406/asie.2001.1169.

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Wang, Hwa Yeong. "Women Who Know Ritual." Journal of Chinese Philosophy 49, no. 2 (July 18, 2022): 113–24. http://dx.doi.org/10.1163/15406253-12340053.

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Abstract Too often Confucian women’s voices and experiences are neglected as insignificant. This paper provides a wide and diverse set of examples of traditional Chinese and Korean women who knew and practiced Confucian ritual. Though representing only a small percentage of traditional women, these examples provide clear evidence and compelling arguments that support the following three conclusions. First, that the Confucian tradition did not deny women’s ability to know and perform rituals; second, that Confucian women read, learned, evaluated, decided, and contributed to re/create the conception and practice of ritual; and third, that this led at least some women and the men around them to recognize and admire not only their moral agency but also their ability to become sages.

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Ran, Yongping, Linsen Zhao, and Dániel Z. Kádár. "The rite of reintegrative shaming in Chinese public dispute mediation." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 30, no. 1 (February 4, 2020): 40–63. http://dx.doi.org/10.1075/prag.19019.ran.

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Abstract This paper examines the ways in which mediators deploy the rite of public shaming in the activity type of public mediation, as a pragmatic device by means of which they exert social control. Our data consists of episodes of public mediation events in rural China, aired in the Chinese Television. Our analytic framework is anchored to the model of interactional relational rituals: we interpret shaming as a morally loaded communal interactional practice, which the mediator can deploy due to their ratified role, but only within frame of the ritual activity type, and with the communal goal of resolving the conflict. Thus, while ritual forms of shaming may be interactionally intensive – e.g. the person who inflicts shame may inflict shame with little mitigation to put pressure on the shamed person – strict rights and obligations regulate the behaviour of the mediator who needs to act as a ‘moral educator’.

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Yusha, Zh M. "Motives of Good Wishes in the Rites of the Children’s Cycle of Tuvans of China, Russia and Mongolia." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 23–37. http://dx.doi.org/10.25205/2410-7883-2020-1-23-37.

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In the ritual folklore of the Tuvans of China, Russia and Mongolia, the main verbal component of the rituals of the children’s cycle is good wishes, which functions from the beginning to the end of each rite. The article identifies twelve motives of good wishes uttered in the structure of the rituals of the children’s cycle. These motives of good wishes contain traditional moral and ethical values, in which cultural symbols, mythological representations and the main priorities of Tuvan culture are presented in a short and concise form. Each motive of good wishes is analyzed in detail from the point of view of semantics, structure and pragmatics of the ritual practice of Chinese, Russian and Mongolian Tuvans. It is established that these motives of good wishes depend on a range of factors: the specific ritual situation, the purpose and meaning of the ritual, the gender and age characteristics of the recipient of the ritual. Nine of them (longevity, fate, respect, human vitality, physical qualities of the child, well- being, education, service to the Motherland, gaining skills) are characteristic only in the rites of the child’s cycle, because in these rituals the future life of the child, the recipient of good wishes, “forms” with the help of verbal elements. The other three motives (blissful state, strengthening the strength of the spirit and the presence of numerous relatives), except for the rituals of the children’s cycle, are used as good wishes in the wedding ceremony. The analysis shows that the ritual texts of the Tuvans of China, Russia and Mongolia in the structure of the rituals of the children’s cycle have largely preserved the ancient layer of common Tuvan folklore, which still has an authentic performance. In the texts of good wishes, mythological ideas about the well-being and fate of the child, the invocation of a prosperous life for him, as well as modeling the life path of the child are common. Enclave traditions to a greater extent have a single fund of good wishes, common features compared to the mother field are observed in them. According to the compositional structure in the good wishes of Chinese Tuvans, in comparison with other ethnolocal Tuvan groups, the stable formula “let it be a blessing” applies. The obtained results can be applied for further comparative research in the field of Tuvan folklore.

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Febriyani, Atik. "Ciswak Ritual as a Ritual of Rejecting the Annual Bala of the Chinese." Bambuti 4, no. 2 (November 14, 2022): 11–27. http://dx.doi.org/10.53744/bambuti.v4i2.46.

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This article discussed the ciswak ritual at a temple in the Chinatown area of Semarang, namely the Sinar Samudra Temple. Ciswak is a ritual of rejecting reinforcements performed by the Chinese every year to protect themselves from bad things. The research methodology and data collection technique are qualitative in collecting data through direct interviews and field research. Field research was carried out from a few days before the ritual until the ciswak ritual was completed using a descriptive analysis design. The Chinese consider that if the ciswak ritual is performed solemnly in both reading prayers and ritual movements and including repentance, which is carried out all day long, then this aims to show the sincerity of humans to want to receive protection and blessings from the gods and avoid away from evil and danger. This ritual is not only because one's birth sign is Chiong( bad luck) in that year, it is also because of the belief to carry out the ritual of repelling reinforcements every year even though the birth sign is not chiong. Chinese people in Semarang still strongly believe in the values of ancestral heritage in the teachings of Taoism

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Gunawan, Arief. "Magwee / Manyue (满月): Sebuah Inkulturasi Ritual Kelahiran dalam Tradisi Umat Katolik Tionghoa." Media (Jurnal Filsafat dan Teologi) 3, no. 2 (October 1, 2022): 178–93. http://dx.doi.org/10.53396/media.v3i2.77.

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This paper discusses the ritual of Magwee or Manyue, a celebration of the first month for babies in Chinese tradition. The purpose of this essay is to find the theological meaning behind the Chinese ritual and at the same time to work out a model of inculturation of the Christian faith. The paper uses a qualitative approach with interpretative phenomenological analysis (IPA). The author finds the possibility of inculturating faith and liturgical inculturation based on the Magwee ritual. The essence of the Magwee ritual as a celebration of gratitude for the newborn is maintained, but this ritual needs to be placed in the context of the liturgical celebration of the Catholic Church. In the context of inculturating faith, the Magwee ritual needs to be reflected in the light of the Bible. The Magwee Ritual is not just a traditional ritual but reaches its fullness in the spirit of Christ.

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Katz, Paul R. "Ritual? What Ritual? Secularization in the Study of Chinese Legal History, from Colonial Encounters to Modern Scholarship." Social Compass 56, no. 3 (September 2009): 328–44. http://dx.doi.org/10.1177/0037768609338762.

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The author explores the reasons why scholars have overlooked the importance of judicial rituals in Chinese legal culture and considers this neglect in the light of scholarship on secularization. He explores the issue by analysing the interaction between Chinese and western judicial practices in the colonial histories of the Straits Settlements (now Malaysia and Singapore) and Hong Kong. The concept of secularization appears to be of relevance to the study of Chinese legal culture, given that secularized societies tend to become differentiated into autonomous sub-systems, religion being restricted in influence to its own sub-system. In fact, however, religion has continuously interacted with a range of other sub-systems in China, including legal ones, which indicates that, in modern Chinese legal culture, religion and the law have not evolved into separate sub-systems.

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Heong, Koh Khee. "Confucian Rituals and Chinese Villagers: Ritual Change and Social Transformation in a Southeastern Chinese Community, 1368–1949." Asian Studies Review 39, no. 3 (November 27, 2014): 521–22. http://dx.doi.org/10.1080/10357823.2014.979748.

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Zhao, Xiaohuan. "Nuo Altar Theatre on a Liminal/Liminoid Continuum: Reflections on the Shamanic Origins of Chinese Theatre." TDR/The Drama Review 63, no. 2 (June 2019): 57–77. http://dx.doi.org/10.1162/dram_a_00835.

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The rite of exorcism known as nuo lies at the very heart of the relationship between ritual and drama in Chinese theatre history. Nuo altar theatre exemplifies the relationship between ritual and drama as dynamic and interactive, with ritual engendering theatre and theatre enriching ritual.

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Sim, May. "Ritual and Realism in Early Chinese Science." Journal of Chinese Philosophy 29, no. 4 (February 1, 2002): 495–517. http://dx.doi.org/10.1163/15406253-02904003.

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Li, Hua. "A Study on Korean-Chinese Wedding Ritual." Journal of the Humanities for Unification 68 (December 31, 2016): 129. http://dx.doi.org/10.21185/jhu.2016.12.68.129.

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Croll, Elisabeth, Jih-Chang Hsieh, and Ying-Chang Chuang. "The Chinese Family and Its Ritual Behavior." Man 22, no. 3 (September 1987): 580. http://dx.doi.org/10.2307/2802529.

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Jones, Stephen. "Chinese ritual music under Mao and Deng." British Journal of Ethnomusicology 8, no. 1 (January 1999): 27–66. http://dx.doi.org/10.1080/09681229908567280.

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Sim, May. "Ritual and Realism in Early Chinese Science." Journal of Chinese Philosophy 29, no. 4 (December 2002): 495–517. http://dx.doi.org/10.1111/1540-6253.00096.

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Ruitenbeek, Klaas. "Craft and Ritual in Traditional Chinese Carpentry." East Asian Science, Technology, and Medicine 7, no. 1 (August 13, 1986): 1–23. http://dx.doi.org/10.1163/26669323-00701002.

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Li, Ziran. "Aesthetic Origin of the Metal and Stone Sound in the Chinese Seven-String Zither Music." Advances in Education, Humanities and Social Science Research 1, no. 1 (May 9, 2022): 53. http://dx.doi.org/10.56028/aehssr.1.1.53.

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The metallic and stony instruments in the ancient eight-tone system symbolized the hierarchical order and noble rights in the pre-Qin ritual music system. The sound of metal and stone represents the beauty of the highest ritual music system, which is "always in order". During the Eastern Zhou Dynasty, the Chinese seven-string zither became a vessel for the scholars to blend the ritual order with their individual emotions, thanks to the preference of the scholars. In the Han Dynasty, with the rise of the scholar class, the Chinese seven-string zither was pushed to the altar of “ritual and music”, following the path of the sound of metal and stone. The sound of metal and stone has influenced the making and playing of the Chinese seven-string zither since the Tang Dynasty - the sound of metal and stone has become the aesthetic standard of the Chinese seven-string zither music.

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Anggrawan, Anthony, and Mayadi Mayadi. "The Study of Symbolic Interaction of Funeral Tradition on Ethnic Chinese in Lombok." Jurnal Varian 4, no. 1 (September 29, 2020): 31–36. http://dx.doi.org/10.30812/varian.v4i1.854.

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There are various burial cultures in Indonesia, including the Chinese ethnic burial culture. What is interesting in almost all burial cultures is the cultural heritage that has been passed down through generations. The question is how actually the ceremonial Chinese ethnic funeral ritual is, and what the symbols in the ethnic Chinese funeral ritual mean. This research provides an answer solution. This research is a qualitative research. The results of the study concluded that before the funeral ritual is carried out, younger family members pay their respects to the older deceased. During the funeral ritual, the next of kin accompany the vehicle carrying the body to the burial or cremation site, on foot, if the burial place is relatively close, or by vehicle if the burial place is far away. During the funeral, flowers, offerings, food and burnt incense are served. The culture of the Chinese funeral ritual was based on belief as a form of human relations with the creator of life and also as a way to maintain the symbol of family or relatives with the deceased and to bear the sins of the deceased.

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Liu, Jing, and Shun Rao. "A Study on the Triple Logic of Integrating the Ritual Culture into Theoretical Courses of Design." Highlights in Art and Design 1, no. 3 (December 1, 2022): 80–82. http://dx.doi.org/10.54097/hiaad.v1i3.3219.

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Being a core element of Chinese traditional culture, an important cultural gene of the Chinese nation, the ritual culture contains rich resources for moral and aesthetic education. In the new era, it is a unity of theoretical logic, historical logic and realistic logic to integrate the ritual culture into the education of design art. By strengthening the integration of teachers, optimizing the integration of content, and integrating the integration of resources, ritual culture can be better integrated into the course of design theory.

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Cedzich, Ursula-Angelika, and David Johnson. "Ritual Opera, Operatic Ritual. "Mu-lien Rescues His Mother" in Chinese Popular Culture." Asian Folklore Studies 50, no. 1 (1991): 247. http://dx.doi.org/10.2307/1178201.

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Sem, T. Y. "Tungus-Manchu Traditional Beliefs. Part 2: Zoomorphic Complex." Archaeology, Ethnology & Anthropology of Eurasia 49, no. 4 (January 4, 2022): 120–26. http://dx.doi.org/10.17746/1563-0110.2021.49.4.120-126.

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This article describes the zoomorphic complex of Tungus-Manchu beliefs refl ected in mythology, ritual practices, shamanism, and decorative and applied arts. Those beliefs are regarded as a coherent whole within the cultural system. The typology of the zoomorphic complex shows that the key fi gures were the serpent-dragon, the deer, the bear, and the tiger. In traditional worldviews and rituals, they were related to cosmogony, ancestor cult, hunting and fi shing rituals, healing, and initiation shamanic complexes. The semantics of animal images depended on their place in the cultural system, religious ritual, and artistic communication. Comparative analysis demonstrates both ethno-cultural specifi city and universal archetypal characteristics, as well as connection with ancient regional beliefs. The Tungus- Manchu zoomorphic complex originated within the East Asian traditions, having been infl uenced by cultures such as the Old Chinese, Korean, and Jurchen.

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Towoliu, Benny Irwan, Dimas Ero Permana, and Fonny Sangari. "Can the Chinese Cultural Attraction Become an Icon of Tourism Cultural Heritage? (A Case in China Village, Manado)." Jurnal Ilmiah Peuradeun 8, no. 3 (September 30, 2020): 601. http://dx.doi.org/10.26811/peuradeun.v8i3.382.

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The purpose of this study was to analyze the residents’ perception towards the Chinese cultural attraction as an icon of cultural heritage tourism in Manado city. Manado is a predominantly Christian community and dominated by indigenous Minahasa tribes. But, now the city is populated by various inhabitants such as Sangir, Gorontalo, Maluku, and even foreign immigrants such as China and Arab migrating since the Dutch colonial era. Of the various communities that exist, practically only the Chinese community that still maintains its rituals amid strong advances in the tourism industry, this cultural practice can become an icon for cultural tourism. However, can the cultural ritual be accepted as an icon of Manado cultural tourism? This research was in the form of a descriptive qualitative approach. The instruments of data collection were questionnaires and field observations. Questionnaires were distributed to 325 respondents spread in Manado. Empirical results showed that every ritual attraction of Chinese Culture had always been awaited and an interesting spectacle for the people of Manado since the people of Chinese descent domiciled in Manado City. These findings could also provide recommendations for policymakers in setting annual tourist agendas as well as providing legal certainty for this region of Chinatown with various attractions as a cultural heritage area.

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Kern, Martin. "Shi JingSongs as Performance Texts: A Case Study of “Chu Ci” (Thorny Caltrop)." Early China 25 (2000): 49–111. http://dx.doi.org/10.1017/s0362502800004272.

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Focused on a detailed philological analysis of the sacrificial hymn “Chu ci” in theShijing, the present study aims to reconstruct the dramatic multi-vocal structure of an exemplary early Chinese performance text. Examining the interrelation between performance and commemoration from anthropological, art historical, and linguistic perspectives, the study in its first part outlines major characteristics of early Chinese ritual culture in terms of ritual self-reference, aesthetic expression, cultural memory, and the performative act of constituting ritual reality. After these historical and theoretical considerations, a fully annotated translation of “Chu ci” is offered, with the text presented in its multi-vocal structure. This structure of multiple voices and changing perspectives is then discussed through a close analysis of linguistic features such as rhyme shifts, the distribution of pronouns and formal designations for the ritual participants, and the use of formulaic prayer sequences. It is argued that these features are directly interrelated and, if seen together, allow us to reconstruct “Chu ci” as an actual performance text that can be related to specific practices and situations of early Chinese ritual culture. It is concluded that only such a reconstruction renders the text fully intelligible, integrating all its otherwise unruly linguistic elements into a coherent reading. In view of the evidence from “Chu ci,” it is suggested that its multi-vocal structure is not a singular phenomenon but reflects a principle of composition that might also apply to other early Chinese ritual texts.

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Sekimori, Gaynor. "Star Rituals and Nikkō Shugendō." Culture and Cosmos 10, no. 1 and 2 (October 2006): 217–50. http://dx.doi.org/10.46472/cc.01210.0221.

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Star rituals in Japan are offerings made to the stars and constellations to increase fortune and ensure long life. They are highly influenced both by Chinese models and Esoteric Buddhism. State ritual tended to focus on the Pole Star, especially in its Buddhist deified form, Myōken Bosatsu. Today, hoshi matsuri (star festivals) are widely performed as annual ritual events held particularly at the beginning of spring. This paper takes as its starting point the unusual prevalence of shrines known as star shrines (Hoshi no Miya) in the vicinity of Nikkō, and examines the significance of stars in the traditions of medieval Nikkō Shugendō, its role in the proliferation of Hoshi no Miya in the region, and the existence today of a star rite dedicated to Myōken in the form of the 'Honoured Star Monarch' (Sonjōō), as a major ritual within the revivified Nikkō Shugendō.

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Hamilton, Annette. "PERFORMING IDENTITIES: TWO CHINESE RITES IN SOUTHERN THAILAND." International Journal of Asian Studies 5, no. 2 (July 2008): 161–85. http://dx.doi.org/10.1017/s1479591408000028.

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AbstractThe cults and ritual practices of the Sino-Thai communities of southern Thailand are a distinctive aspect of a region in which Chinese heritage has a high degree of social significance. Chinese came to the Malay Peninsula in several waves; many settlers arrived as early as the sixteenth century, and others flooded into the region to work in tin-mines and rubber plantations in the nineteenth century. Although now “Thai” in many respects, the descendants of Chinese immigrants in the south retain a distinctive identity, visibly expressed in the annual ritual cycle focused on specific rites and temples. These events provide a sense of connection to ancestral origins, but also make important statements about the contemporary position of Chinese descendants in a complex multiracial context. Tourism, both national and transnational, has played an important role in the expansion of ritual performance. During the capitalist boom years of the 1990s, elements of Chinese identity became a valued social marker in Thailand and some aspects of the southern cultural and ritual practices were adopted more widely, although most of the Sino-Thai descendants outside the south had little or no understanding of the origins or meaning of the practices. This paper examines rites performed annually in two southern Thai towns, investigating how they reflect complex negotiations of ethnic identity vis-à-vis national and regional contexts.

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Jiang, Xiaoli. "Did the Imperially Commissioned Manchu Rites for Sacrifices to the Spirits and to Heaven Standardize Manchu Shamanism?" Religions 9, no. 12 (December 5, 2018): 400. http://dx.doi.org/10.3390/rel9120400.

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The Imperially Commissioned Manchu Rites for Sacrifices to the Spirits and to Heaven (Manzhou jishen jitian dianli), the only canon on shamanism compiled under the auspices of the Qing dynasty, has attracted considerable attention from a number of scholars. One view that is held by a vast majority of these scholars is that the promulgation of the Manchu Rites by the Qing court helped standardize shamanic rituals, which resulted in a decline of wild ritual practiced then and brought about a similarity of domestic rituals. However, an in-depth analysis of the textual context of the Manchu Rites, as well as a close inspection of its various editions reveal that the Qing court had no intention to formalize shamanism and did not enforce the Manchu Rites nationwide. In fact, the decline of the Manchu wild ritual can be traced to the preconquest period, while the domestic ritual had been formed before the Manchu Rites was prepared and were not unified even at the end of the Qing dynasty. With regard to the ritual differences among the various Manchu clans, the Qing rulers took a more benign view and it was unnecessary to standardize them. The incorporation of the Chinese version of the Manchu Rites into Siku quanshu demonstrates the Qing court’s struggles to promote its cultural status and legitimize its rule of China.

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Witzleben, J. Lawrence, Bell Yung, Evelyn S. Rawski, and Rubie S. Watson. "Harmony and Counterpoint: Ritual Music in Chinese Context." Yearbook for Traditional Music 29 (1997): 148. http://dx.doi.org/10.2307/768304.

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Ettner, Charles, Evelyn S. Rawski, Bell Yung, and Rubie S. Watson. "Harmony and Counterpoint: Ritual Music in Chinese Context." Journal of the Royal Anthropological Institute 4, no. 4 (December 1998): 849. http://dx.doi.org/10.2307/3034891.

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Guo, Man, and Carsten Herrmann-Pillath. "Lineage, Food and Ritual in a Chinese Metropolis." Anthropos 114, no. 1 (2019): 195–208. http://dx.doi.org/10.5771/0257-9774-2019-1-195.

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Thirty years ago, the eminent sinologist James Watson published a paper in Anthropos on ‘common pot’ dining in the New Territories of Hong Kong, a banquet ritual that differs fundamentally from established social norms in Chinese society. We explore the recent career of the ‘common pot’ in neighbouring Shenzhen, where it has become an important symbol manifesting the strength and public role of local lineages in the rapidly growing mega-city. We present two cases, the Wen lineage and the Huang lineage. In case of the Wen, we show how the practice relates to their role as landholding groups, organized in a ‘Shareholding Cooperative Companies’ that is owned collectively by the lineage. In the Huang case, identity politics looms large in the context of globalization. In large-scale ‘big common pot festivals’ of the global Huang surname association, traditional conceptions of kinship merge with modernist conceptions of national identity.

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Guggenmos, Esther-Maria. "QianDivination and Its Ritual Adaptations in Chinese Buddhism." Journal of Chinese Religions 46, no. 1 (January 2, 2018): 43–70. http://dx.doi.org/10.1080/0737769x.2018.1442686.

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Kadar, Daniel Z., Puyu Ning, and Yongping Ran. "Public ritual apology – A case study of Chinese." Discourse, Context & Media 26 (December 2018): 21–31. http://dx.doi.org/10.1016/j.dcm.2018.01.003.

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Kádár, Dániel Z., and Juliane House. "Revisiting the duality of convention and ritual: A contrastive pragmatic inquiry." Poznan Studies in Contemporary Linguistics 56, no. 1 (March 26, 2020): 83–111. http://dx.doi.org/10.1515/psicl-2020-0003.

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AbstractThe aim of this paper is to provide a pragmalinguistically inspired framework for analysing the relationship between linguistic forms and conventional and ritual behaviour. To date, no body of pragmalinguistic research has been dedicated to the relationship between conventional and ritual phenomena, which play a fundamental role in language use. Even more importantly, the examination of this phenomenon provides insight into a longstanding issue in pragmatics, namely, how the relationship between form and language use can be pinned down. We will pursue this question on the basis of an English and Chinese corpus-based examination of expressions, which we define as ‘ritual frame indicating expressions’ (RFIEs). As a case study, we examine the Chinese RFIE ‘duibuqi’ and its English counterpart ‘sorry’. The results indicate that while ‘sorry’ is largely used in a conventional way throughout the contexts in our English corpus, ‘duibuqi’ is predominantly anchored in ritual. This, in turn, reveals how these forms are related to convention v. ritual as far as our data is concerned.

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Kudinova, Maria A. "Images of Dogs in Chinese Rock Art." Oriental Studies 19, no. 10 (2020): 23–34. http://dx.doi.org/10.25205/1818-7919-2020-19-10-23-34.

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The paper analyzes images of dogs in rock art of China. According to the semantics of compositions the following groups can be distinguished: hunting dogs, herding dogs, guard dogs, using of dogs in rituals, mythological and folklore motifs and other images. According to the distribution of different thematic groups of images, two big areas – northern and south-western – can be seen. In northern regions of China (Xinjiang Uyghur Autonomous Region, Inner Mongolia Autonomous Region, Ningxia Hui Autonomous Region, Gansu Province) the scenes of practical use of dogs (hunting, grazing, guarding herds and dwellings) prevail, which can be explained by the characteristics of the economic structure of the nomadic peoples who inhabited these territories. The images of a horseman followed by a dog and a bird of prey seen in Xinjiang and Inner Mongolia can be interpreted as depictions of some motifs of heroic epos of Central Asian nomadic peoples. Other compositions in northern regions have been found to depict not only “realistic”, but “mytho-ritual” interpretations as well. In south-western regions (Guangxi Zhuang Autonomous Region, Yunnan Province, Sichuan Province) the images of dogs in ritual and/or a mythological context are more common. It is likely connected with the less practical importance of dogs in the agricultural economy and the higher status of this animal in the spiritual culture of the peoples of Southern China. Rock paintings in Cangyuan County, Yunnan Province, is an exception that combines the images belonging to both traditions, namely a picture of a hunting dog and a dog as a sacrificial animal. Some images cannot yet be deciphered unequivocally.

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Jia, Jinhua. "Writings, Emotions, and Oblations: The Religious-Ritual Origin of the Classical Confucian Conception of Cheng (Sincerity)." Religions 12, no. 6 (May 26, 2021): 382. http://dx.doi.org/10.3390/rel12060382.

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Cheng 誠 (sincerity) is one of the primary concepts in the Confucian tradition as well as Chinese intellectual history. Its rich implications involve dimensions of religion, ritual, folk belief, ethics, psychology, cosmology, metaphysics, aesthetics, and literature. In the Confucian classics, cheng is described as the “Dao of heaven”; humans through cultivation can reach the mysterious state of “the utmost sincerity functioning as spirits” and thus can “assist the transforming and generating power of heaven and earth.” Because of cheng’s rich, sacred, and mysterious implications, it has been regarded as the most difficult and perplexing of Chinese concepts. Scholars have long studied cheng mainly from the perspective of philosophy to analyze its ideological conceptions in the Confucian classics, resulting in fruitful and inspiring interpretations. However, because they have not traced the origin of cheng to its rich religious, ritual, and literary sources, their interpretations have been unable to answer the question: why is cheng covered with such a mysterious veil? In recent decades, some scholars have started exploring cheng’s relationship with ancient religious beliefs and rituals, but so far a comprehensive examination of the religious-ritual origin of this significant concept remains lacking. To discover cheng’s mysterious origins, we must apply a synthetic approach of etymological, religious, philosophical, and literary studies. Drawing upon both transmitted and excavated texts, this essay first analyzes the graphic-phonetic structure and semantic implications of the character cheng 成 (completion), which was the character cheng’s 誠 early form. It then examines the rich meanings implied in both characters related to sacrificial-divinatory rituals, including invoking the spirits with sincere writings, emotions, and oblations, in order to seduce them to descend and enjoy the offerings, as well as perfectively completing the human-spirit communication. Finally, the essay discusses how those religious beliefs and ritual ceremonies evolved into Confucian ethical values and aesthetic concepts, thus lifting the mysterious veil from cheng.

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Foo, Melvin Bok Yee, and Elena Chai. "Connecting with Deities: The Practice of Spirit Mediumship among the Chinese in Kuantan, Pahang." Kajian Malaysia 39, no. 2 (October 29, 2021): 51–70. http://dx.doi.org/10.21315/km2021.39.2.3.

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The belief towards the spirit medium is one of the oldest beliefs in Chinese folk religion. This research explored spirit mediumship practices among the Chinese in Kuantan, Pahang, and interviewed 10 spirit mediums by applying interpretive phenomenological analysis. The findings indicate that the ability to interact with deities is either due to unavoidable illness, hereditary, naturally acquired, or learned. Indeed, a spirit medium may or may not convey messages to the audience or the deities from ritual performances. However, the ritual had revealed an “indispensable and official” status among mediums and worshippers. Although some expectations of this practice have faded due to modernity, it is still popular among the Chinese, especially in bonding the Chinese together as one community.

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Maunardani, Anitia Octantiar, and C. Dewi Hartati. "Zhongqiu Festival in Hwie Ing Kiong temple, Madiun." Bambuti 1, no. 2 (May 24, 2019): 23–38. http://dx.doi.org/10.53744/bambuti.v1i2.4.

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Abstract. This paper discusses about one of Chinese festival, namely Moon Cake Festival. This festival is celebrated by Chinese people in Madiun, East Java in Hwie Ing Kiong temple. At Hwie Ing Kiong temple the Zhong Qiu festival is still held as a form of maintaining Chinese culture, and inherit to their future generation. Through the ritual id dedicated to Mazupo, the sea guardian deity as a main deity in this temple and also to the moon deity, Chinese people in Madiun maintain the existence of this festival. The ritual is held in night after that people enjoy the moon cake outside the temple. The festival still exist up to now because it is well acculturated with local culture.

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Journal articles on the topic 'Chinese ritual'

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