Dissertations / Theses on the topic 'Chinese seals'

E-commerce has developed through the use of digital signatures, employing various forms of Public Key Infrastructure (PKI) to ensure the secure usage of digital signatures. Digital signatures are designed to facilitate the functions of traditional seals and handwritten signatures for the purposes of authentication, data integrity, and non-repudiation within the e-commerce environment. Historically, the authenticity of documentation has always been verified by the application of a recognisable visual stimulus to the document; however, the current digital signature regime overlooks the importance of this analogous sense of visualisation. One of the primary problems with existing digital signatures is that a digital signature does not "feel" like, or resemble, a traditional seal to the human observer, as it does not have a personal, recognisable, or aesthetic sense of visualisation. Currently, digital signatures, such as the OpenPGP (Pretty Good Privacy) digital signature, are attached to the end of an electronic document as a stream of printable ASCII characters. (RFC2440) This appears to the average user as a long, incomprehensible string of random characters offering no sense of identity or ownership by simple visual inspection. Additionally, digital signatures change each time they are applied, in contrast to traditional seals that remain consistent personal identifiers associated with individual signatories. The goal of this research is to promote enhancements to existing digital signature schemes in order to bridge the cultural gap between traditional seals and digital signatures. Culturally friendly features integrated into the digital signature have the potential to increase user acceptability of global e-commerce. This research investigates traditional seal cultures within the context of modern digital signatures, identifying the need to develop a new, culturally friendly, visualised digital signature scheme. The principles behind digital signatures are reviewed and the essential roles and responsibilities of a PKI are addressed. A practical analysis of PKI implementation is also essential. Taiwan is selected as the focus of this research since its heritage is deeply rooted in, and strongly adheres to the Chinese seal culture. The Taiwanese government is in the process of adapting the traditional seal certificate system to the electronic digital signature system. Therefore it is pertinent to review the PKI implementation and digital signatures applications in Taiwan in this study. The purpose of this research is to make the intangible digital signature virtually tangible; i.e., to incorporate visualisation into the current digital signature practice. This research defines new private extensions to the X.509 v3 certificate, recommending that conforming visualised digital signature applications should then be developed to generate and/or recognise visual digital certificates in support of the proposed visualised digital signature scheme. The processes of visualised digital signature creation and of verification through the application of the visualised digital certificate are then explained. This is accompanied by a model of system analysis for developers of conforming implementations of this specification. This allows developers the freedom to select appropriate developing tools. An analysis of this research evaluates the quality of integrity, security, interoperability, performance, and flexibility offered by this proposal.Future directions for furthering research development conclude this dissertation.

E-commerce has developed through the use of digital signatures, employing various forms of Public Key Infrastructure (PKI) to ensure the secure usage of digital signatures. Digital signatures are designed to facilitate the functions of traditional seals and handwritten signatures for the purposes of authentication, data integrity, and non-repudiation within the e-commerce environment. Historically, the authenticity of documentation has always been verified by the application of a recognisable visual stimulus to the document; however, the current digital signature regime overlooks the importance of this analogous sense of visualisation. One of the primary problems with existing digital signatures is that a digital signature does not "feel" like, or resemble, a traditional seal to the human observer, as it does not have a personal, recognisable, or aesthetic sense of visualisation. Currently, digital signatures, such as the OpenPGP (Pretty Good Privacy) digital signature, are attached to the end of an electronic document as a stream of printable ASCII characters. (RFC2440) This appears to the average user as a long, incomprehensible string of random characters offering no sense of identity or ownership by simple visual inspection. Additionally, digital signatures change each time they are applied, in contrast to traditional seals that remain consistent personal identifiers associated with individual signatories. The goal of this research is to promote enhancements to existing digital signature schemes in order to bridge the cultural gap between traditional seals and digital signatures. Culturally friendly features integrated into the digital signature have the potential to increase user acceptability of global e-commerce. This research investigates traditional seal cultures within the context of modern digital signatures, identifying the need to develop a new, culturally friendly, visualised digital signature scheme. The principles behind digital signatures are reviewed and the essential roles and responsibilities of a PKI are addressed. A practical analysis of PKI implementation is also essential. Taiwan is selected as the focus of this research since its heritage is deeply rooted in, and strongly adheres to the Chinese seal culture. The Taiwanese government is in the process of adapting the traditional seal certificate system to the electronic digital signature system. Therefore it is pertinent to review the PKI implementation and digital signatures applications in Taiwan in this study. The purpose of this research is to make the intangible digital signature virtually tangible; i.e., to incorporate visualisation into the current digital signature practice. This research defines new private extensions to the X.509 v3 certificate, recommending that conforming visualised digital signature applications should then be developed to generate and/or recognise visual digital certificates in support of the proposed visualised digital signature scheme. The processes of visualised digital signature creation and of verification through the application of the visualised digital certificate are then explained. This is accompanied by a model of system analysis for developers of conforming implementations of this specification. This allows developers the freedom to select appropriate developing tools. An analysis of this research evaluates the quality of integrity, security, interoperability, performance, and flexibility offered by this proposal.Future directions for furthering research development conclude this dissertation.

Cette thèse vise à analyser l’une des connexions majeures des mers de Chine à l’époque moderne : les relations entre le Japon, le Đại Việt et le Champa. A partir du milieu du XVIe siècle, l’impossibilité d’accéder au marché chinois pousse les marchands japonais à investir de plus en plus dans le commerce avec l’Asie du Sud-Est. Ils peuvent y échanger leur argent et leur cuivre contre de la soie et des produits tropicaux. Pour les Japonais, le Đại Việt présente des avantages décisifs : il accueille des marchands venus de Chine et est le seul pays de la région à produire lui-même de la soie. De plus, les autorités des deux pays partagent une conception similaire de l’étiquette et une instruction fondée sur les mêmes classiques. Le Champa, quant à lui, revêt une importance capitale auprès des autorités japonaises en tant que pourvoyeur de bois précieux. Ces relations connaissent une profonde restructuration au cours des années 1630, quand le shogunat interdit aux Japonais de quitter le pays, sans que cette connexion ne disparaisse. Par ailleurs, ces contacts avec le monde extérieur ont permis à une cartographie spécifiquement japonaise de se développer. Les cartes réalisées, si elles se fondent sur des modèles européens ou chinois, parviennent cependant à les réinventer et à les dépasser.La proximité entre le Japon et le Đại Việt en a donc fait des partenaires privilégiés, ce qui a permis l’établissement de communautés japonaises dans les ports viêt. Ces résidents japonais y ont occupé une fonction centrale, celle d’intermédiation entre Européens et autorités viêt. L’objectif de ce travail de recherche est d’expliciter les fondements sur lesquels cette entente s’est nouée et d’analyser les réseaux multiethniques autour desquelles elle s’est construite, en recourant notamment à des modélisations informatiques
This dissertation aims to analyse one of the major connections in the early modern China seas, the relations between Japan, Đại Việt and Champa. From the mid-16th century onwards, as they were unable to access the Chinese market, Japanese traders increasingly invested in trade with Southeast Asia. They could exchange silver and cooper against silk and tropical products. Đại Việt offered decisive advantages for the Japanese. Merchants coming for China went there to trade and it is the only country to produce silk on its own. Furthermore, the authorities in both countries shared a same vision of diplomacy and their instruction was based on the same classics. As for the Champa, it was of particular importance for the Japanese authorities as a supplier of precious woods. These relations underwent a thorough reorganisation in the 1630’s, when the shogunate prohibited the Japanese from leaving the country, but this connection remained strong. Besides, these contacts with the outside world enabled a specifically Japanese cartography to emerge. Although they are based on European or Chinese models, these maps succeeded in reinventing and going beyond these models.The proximity between Japan and Đại Việt made them privileged partners and lead to the settlement of Japanese communities in Viêt ports. These Japanese residents played a crucial role in these societies, as go-betweens between the European and Viêt authorities. The purpose of this research work is to demonstrate how this common understanding emerged, and to analyse the networks that shaped it, notably through computer modelling

碩士
國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
100
The animator uses one of the most popular Chinese folk arts, the Chinese pictorial seals, as characters to create an innovative visual experiment in this animation short film. Since the Chinese dragon year came, the animator has tried to create a story about the coming new year from the past zodiac signs, the rabbit, to the dragon. The animation starts from the first four animals of the Chinese zodiac signs, the mice, the cow, the tiger, and the rabbit. They trace and play with a falling ball coming from the dragon’s mouse. Through the animation process, the animator learned how to make these tetrapod walk smoothly and to move with style, and then created this interesting and convincing character animation.

Seals are hand-held printing blocks inscribed with some pattern, generally text. They were objects of immense power and prestige in imperial China. This dissertation examines the modern afterlife of inscribed seals against the backdrop of the decline and collapse of an imperial era order of knowledge and social status, the rise of modern consumer markets and mass culture, and the local accommodation of modern disciplines that promoted new ways of classifying and engaging the material world. In late imperial China (ca. 1600s-1800s), seals legitimized the rule of the emperor and his civil servants and marked the taste and erudition of the literati elite. As hand-held printing blocks that replicated in ink small textual signs, they produced authorizing marks of personhood and office and attracted elite collectors as calligraphic compositions of antiquarian interest. In modern China, seals proliferated within the cosmopolitan material culture of cities like Hangzhou and Shanghai. As the seal was transformed following the disintegration the imperial system, its multifaceted meanings and functions were increasingly subsumed under a monolithic category of "Chinese seal" as art object. The making of the "Chinese seal" as a representative fine art and marker of a distinctive Chinese culture evolved out of the diverse ways in which the carvers, consumers, scholars, and users of seals defined the object's significance in a modern world. This dissertation is thus structured around the new social venues in which the seal emerged in the first four decades of the twentieth century, from the final years of imperial rule through the period of the Nanjing Decade (1927-1937). The seal in premodern China was not an unchanging part of a traditional material culture. Its uses and significance had already undergone dramatic, historically contingent, transformations before the twentieth century. Chapter one broadly examines the multifaceted functions of the seal through Chinese history, and explains the emergence of the seal as an object of literati fascination in the late imperial period. The relationship between seal carving and the literati way of life would have to be at least partially displaced for seal carving to survive China's transition to a more mass-oriented society. Chapter two demonstrates how members of the Xiling Seal Society (founded 1904), the first-ever specialized institution devoted to seal carving and inscriptions celebrated literati values of amateurism and exclusivity while simultaneously contributing to the commodification, public visibility, and transformation of literati seal carving. The Xiling Seal Society, as a modern heritage institution based in Hangzhou, had a commercial counterpart in Shanghai with a national and international consumer base. Chapter three uses catalogues of this business and its offshoots as evidence of the crucial role of the market in transmitting and modifying seal carving and related aspects of elite material culture after the collapse of the imperial order. While the Shanghai Xiling Seal Society positioned itself against a vulgarization of seal carving in contemporary society, it incrementally detached the seal from a broader framework of imperial era knowledge production and ultimately marketed it as a customizable commodity suitable to the needs of the modern consumer. Chapters 4 and 5 examine the emerging categorization of the seal as a fine art object. Through an examination of how-to manuals published during the Republican period, chapter 4 focuses on the ways in which practitioners characterized their expertise and how their practical instruction aimed at a general reader marked a transformation of the concept of amateurism. Chapter 5 looks at the seal's incorporation into state-sponsored national exhibitions of fine art held in 1929 and 1937 and the tensions produced by the collision of connoisseurship culture with the mass pedagogy of "aesthetic education." The categorization of seal carving as fine art can be understood as the grafting of an exogenous classification system onto a local practice. But this new categorization did not only transform the seal, it also transformed the very category of "fine arts" as it was understood in China. The final chapter examines the seal as an object of scholarly inquiry and the relationship between seals, seal carving, and an indigenous field of metal and stone inscription study (jinshi). The second director of the Xiling Seal Society, a scholar named Ma Heng, incorporated seals into his vision of metal and stone inscription study as a sub-discipline of modern historical scholarship. Ma Heng judged seal carving not by the aesthetics of the seal composition, but by the integrity of the archaic text as an accurately rendered play upon epigraphic models. His insistence that seal carving be understood as an expression of scholarship serves as a reminder of how awkwardly imperial era practices of connoisseurship and knowledge production mapped onto a modern field of disciplines, with their hardened boundaries between the arts and the sciences. Today, the Chinese government promotes seal carving as a representative part of an ancient and enduring Chinese culture. As examined in the dissertation's epilogue, the People's Republic of China has succeeded in having "the art of Chinese seal engraving" inscribed on the UNESCO list of intangible cultural heritage of humanity. The seal has now come into the purview of the contemporary state's heritage politics. This has only been possible because the seal proved useful, significant, and accessible to people in the early twentieth century even after the imperial system that had accounted for the object's former prestige was torn asunder.

碩士
國立臺灣藝術大學
書畫藝術學系
101
With thousands of years of development, Seal Cutting has gradually becomes one of the unique arts in Taiwan. The skills, techniques, and methods of making Seal Cutting bring out the rhyme of music in each line. In this essay, it probes into the rhyme of music in Seal Cutting and analyzes the relationship between them with practical work. Besides, it emphasizes the performance of music in Seal Cutting with experimental creation. It is specifically focused on “point” and “line” of the performance in music in Seal Cutting due to the varieties of aspects explored in Seal Cutting. The main contents of this essay are the following below : 一、Understand the contents and features of music through the study of history contribution. 二、Reinterpret Seal Cutting through the outlook on music. 三、Analyze the inner and outer music aspect in Seal Cutting with practical work. 四、Prospect the promising future creation through the process of experimental work.

碩士
立德大學
資訊傳播研究所
98
Traditional seal arts and digital technology can be integrated with many new creative areas, and can reach mutually reinforcing benefits of success. This study is to clarify not only the traditional seal arts in the digital age may develop, but also hope to demonstrate an attempt to seals as a kind of Chinese traditional art of post-modern phenomenon of cultural significance. Furthermore, this study presents the digital value-added applications of Chinese seal arts. The results show that the traditional Chinese seals art can be development a Taiwan's cultural and creative industry. Through this study attempt to look forward to the modernization of Chinese culture in the context of time and space to find out the direction of Taiwan's cultural and creative industries.

碩士
國立中央大學
歷史研究所
100
Bandits’ problem was a serious issue. Domestic bandits could be simply divided into the northeast of China（東北） of Horse Thief, the bandits of Hebei（河北） and the Guangdong（廣東） banditry, in short, the mountain for the thief, the sea for the Pirates. The pirates, in fact, already existed in the Ming and Qing dynasties. In the change of dynasty, the problem of piracy showed the character different than before. The organization of chinese pirates were small scale. The ways of predatory were various. And the transition of the traditional cold weapons to hot weapons used, pistols and rifles were the hot goods. Some pirate leaders were educated, at the same time, it also showed some women pirates active in the ocean. The component of the pirates was believed that the coastal fishermen. According to statistics, coastal fishermen could not live by simple salary. It made them to take adventure becoming pirates. However, the groups of pirate were very complex. Especially, the army was the most important sources for the soldier to bandits. And the government could not handle the confusions. This article used The Shine Pirates Relationship Books（支那海賊關係雜件）to discuss pirates problems. Other data liked newspapers, government laws, monographs, etc. More importantly, the piracy cases before were limited by domestic law until foreign countries entered China, the piracy cases became an international dispute. On the other side, how the Chinese government controlled coastal order and rescued shipwreck were the motivation and problems for this article.

康寶文.
手稿本, 複本據手稿本影印.
Thesis (M.A.)--香港中文大學.
Shou gao ben, fu ben ju shou gao ben ying yin.
Includes bibliographical references (leaves 827-840).
Kang Baowen.
Thesis (M.A.)--Xianggang Zhong wen da xue.
Chapter 第一章 --- 秦始皇帝統一以前秦國古文字概述
Chapter 第一節 --- 秦公鐘、簋與石鼓文 --- p.1
Chapter 第二節 --- 詛楚文 --- p.31
Chapter 第三節 --- 雲夢秦簡 --- p.57
Chapter 第二章 --- 秦始皇刻石溯原
Chapter 第一節 --- 巡行封禪 --- p.69
Chapter 第二節 --- 刻石之形狀 --- p.77
Chapter 第三節 --- 刻石之書者 --- p.85
Chapter 第三章 --- 始皇刻石銘辭考釋
Chapter 第一節 --- 繹山刻石考釋 始皇廾八年 --- p.90
Chapter 第二節 --- 泰山刻石考釋 始皇廾八年 --- p.264
Chapter 第三節 --- 琅邪臺刻石考釋 始皇廾八年 --- p.405
Chapter 第四節 --- 之眾刻石考釋始 皇廾九年 --- p.502
Chapter 第五節 --- 之眾東觀刻石考釋 始皇廾九年 --- p.530
Chapter 第六節 --- 碣石門刻石考釋 始皇卅二年 --- p.551
Chapter 第七節 --- 會稽刻石考釋 始皇卅七年 --- p.608
Chapter 第八節 --- 其他秦始皇刻石存目 --- p.817
Chapter 附錄一 --- 引用書目簡稱表 --- p.825
Chapter 附錄二 --- 參考書目 --- p.827

碩士
華梵大學
美術學系碩士班
99
Taiwan Railway, since Qing Dynasty till now, has not only served the important transportation function, but also has become the channel for the public to experience local cultural features. Since the promotion of “Discover Taiwan by Railway” launched in 2011, railway station seals once again have gained the popularity and railway culture has been re-innovated. Due to the evolution and change of social history and natural environment, designers of seals often make use of local unique features such as architecture, landscape, products, and folk culture to incorporate in the figures that reflect popular taste and culture at that time. Thus, these seals are collected by railway fans and at the same time, become the means of promotion. Traditional titles in towns and villages of Taiwan often represent local cultural features but after the transition of time and political power as well as the change of urban landscape, the traditional titles lost the original indicating meaning, and they have been replaced with new ones under the different political, economic, and social conditions. This paper entitled “The Series of Chinese Seal Creations with Traditional Titles and Figures of Taiwan Railway Stations” includes six chapters to discuss the origin and evolution of creation elements inspired the author. In this series of Chinese seal creations, the author uses stone material instead of rubber material to incorporate traditional seal carving in the creation with the attempt to retrace the history shown in the aged stone seals. The author also researches local cultural features and collects literature of local titles and in the creation, old titles as well as their contents and cultural landscape have been presented. Culture is chapter of our living and the development of Taiwan Railway brought us fruitful achievements of transportation and economic development and the title of railway stations has become important cultural asset for the public. Through creation, ordinary elements in our living are added with aesthetics and given to cultural contents and the values of life and living are realized. Chapter I, Introduction, describes motives and purpose of the creation, research scope and method; Chapter II investigates the evolution of relationship between history and culture old railway stations and station seal creation; Chapter III analyzes figure creation of old station seals of Taiwan Railway; Chapter IV introduces creation concept, figure composition and techniques; Chapter V states the series creations and presentation; and Chapter VI concludes this study. Lastly, at the end of this paper there has been included the entire series of 91 figures of Taiwan Railway Stations made by the author, along with prose and modern poems to conclude this creation.

碩士
國立高雄師範大學
表演藝術碩士學位學程
105
This action research study is to explore the incorporation of drama strategies in Chinese language teaching. The twenty-five participants in this study were eighth graders in a junior high school in Kaohsiung. Zong Dingbo selling ghost and Mulan poem in Hanlin Book four were selected for designing drama strategies lesson plans. Mind maps, cooperative learning, adapted screenplay, and performaning arts were involved in drama strategies teaching class. The research methods included observation,interview, and quetionnaires. Chinese language learners’ performances before and after using drama strategies in class were compared through collectiong learners’ works and grades and questionnaires. The data were analyzed to show whether learning motivation, learning efficacy, and students’ reading comprehsion are improved after the use of drama strategies in class. In terms of teachers’ observation, learners’ performances were elevated after drama strategies were involved. In terms of learners’ responses in class, leaners accepted drama strategies teaching and indicated that classes were different from the past. The classes became more interesting and learnig motivations were elevated. Basesd on the analysis of mind maps, learners’ reading comprehension approached to self clarification level through the process of acting. Twenty-five students involved in this action research study. The incorporation of drama in Chinese languag teaching was recognized. Eight-eight percent of participants thought that the incorporation of drama in Chines language teaching not only elevated learning motivations but helped gain courage in performaning arts. Besides, they agreed that act of performing was helpful in learning Chinese language. Ninety-two percent of participants thought that they had more confidence in themselves during performances after drama was incorporated in Chinese language classes. On the basis of participants’ feedbacks, both learning interests and the abilities to perform arts increased due to the incorporaton of drama in Chinese language teaching. In terms of participants’ performances on term exams, seventy-two percent of participants’ scores showed positive growth. This finding indicated that the incorporation of drama and performing arts in teaching Chinese language have positive impact on assessments. Besides, the motivation of reading and the abilities of doing physical expressions have increased. Hence, when teachers were thinking about activations and creations of teaching,the incorporation of performing arts and drama in class should be emphasized. This study suggested that low motivation learners involved themselves in class with the incorporation of performing arts and drama in teaching. High proficiency level learners perceived profound meanings in contexts after the use of drama and physical expressions in teaching. It may be difficult to apply performing arts to teaching because of limited instructional time today; however, experienced teachers may have the abilities to plan performing art programes for students to learn different subjects.

碩士
元智大學
資訊傳播學系
96
Chinese seal carving is a unique art which has been around in Chinese history for a long time. The seal style can be affected by the layout of characters, the writing style of strokes and the way of carving. There are three major goals in this dissertation. First, to analyze the form of seals by studying the structure and layout of the seals hierarchically and systematically. The basic measurable elements are extracted according to the historical bibliography. Second, a shape grammar is induced by the analytical result. Different forms of seals can be generated by the grammar by specifying parameters for basic elements in the seal structure. Third, seal forms are converted into measures of basic elements and then classified by statistical methods such as one-way analysis of variance (ANOVA) and discriminant analysis. The classified result is compared to the bibliography to find out how the style is formed for famous seal carving masters. The result of our research indicates that it is possible to generate seal forms by procedural method with parametric shape grammar. The classification for seal styles is quite accurate and acceptable. Especially the well-known styles of seal carving masters Wu Chang-Shuo, Huang Shr-Lin and Qi Bai-Shi are objectively concluded from statistical data. Moreover, the shape grammar can be used to generate seal forms of other style if suitable parameters are discovered.