Relevant bibliographies by topics / Dynasties Wei-Jin

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

Academic literature on the topic 'Dynasties Wei-Jin'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Dynasties Wei-Jin"

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Zang, Kehe. "Writing media, script styles and literary forms: Reasons behind the development of the writing system during the Wei, Jin and Southern and Northern dynasties and its significance." Journal of Chinese Writing Systems 5, no. 2 (June 2021): 87–97. http://dx.doi.org/10.1177/25138502211018789.

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The graph zhi 纸 in the Wei, Jin and Southern and Northern dynasties is of great significance and profound influence. The writing system during this period experienced a rapid development, leading to various script styles that met the demand of all kinds of literary forms and occasions. The development of script style is more directly related to the development of literary forms, especially written literature. Besides the development in the regularization of the writing system, the full preparation of script styles results mainly from material and social factors. Material factors refer to the change of writing media, namely the fact that paper became daily writing material during the Wei, Jin and Southern and Northern dynasties, and social factors are the accumulation of family education and the social atmosphere of advocating calligraphy. The literature of the Wei, Jin and Southern and Northern dynasties has its own track of development and its particular literary forms and genres. The consideration of the development of script style and the transformation of writing media during this period will help us discover some internal connection.
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Zhao, Minli. "Reflections on “literary awareness in Wei and Jin Dynasties”." Frontiers of Literary Studies in China 1, no. 3 (July 2007): 351–77. http://dx.doi.org/10.1007/s11702-007-0017-3.

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Bian, Xiang Yang, and Aijuan Cao. "A Study on the Origin and Evolution of Shape and Structure of ‘Gui-Yi’ in Ancient China." Asian Social Science 14, no. 8 (July 27, 2018): 145. http://dx.doi.org/10.5539/ass.v14n8p145.

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Most of the existing studies on Gui-Yi, which is a kind of ancient women’s dress of China, are barely about the interpretation of Xian (ie. a long ribbon made of silk) and Shao (ie. a hanging fabric of cloth, shaped like a swallow tail, tied to the waist) of Gui-Yi, on whose origin, development and evolution of the shape and structure there are few discussions. Based upon summarizing the literature, this paper points out that Gui-Yi in Han Dynasty was originated from a relic of San-di (ie. three kinds of ceremonial dress worn by queens in The Rites of Zhou Dynasty-a classical book in ancient China on the bureaucratic establishment system of Zhou Dynasty and the system of states in Warring States Period). In the paper, Gui-Yi is divided into two kinds according to images in archaeological studies, namely, the ‘Gui-Yi in one-piece system’ (‘one-piece system’ is Chinese robe) and ‘Gui-Yi in separate system’ (‘separate system’ is a kind of suit that consists of blouses and skirts). The former was popular in Han Dynasty, and the latter was popular in Wei &Jin Southern and Northern Dynasties. The change of the shape and structure of Gui-Yi conforms to the historical trend that the ‘Gui-Yi in one-piece system’ entered a recession in the late Eastern Han Dynasty and the ‘Gui-Yi in separate system’ became a popular mainstream in Wei &Jin Southern and Northern Dynasties. In addition, the paper points out female images wearing Gui-Yi in Gu Kaizhi's paintings influenced the expression of Gui-Yi image of Wei & Jin Southern and Northern Dynasties, and Gui-Yi were gradually brought into immortal statues during painters’ artistic processing of that time.
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Li, Wen, Wei Duan, and Qu Shi. "Song Dynasty Garden Art and its Inspiration on the Modern Urban Landscape." Applied Mechanics and Materials 744-746 (March 2015): 2206–11. http://dx.doi.org/10.4028/www.scientific.net/amm.744-746.2206.

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Chinese garden art originates from Shang and Zhou Dynasties,drives to maturity in Song Dynasty nurtured by the renovation and development of Wei, Jin, Sui, Tang, Northern and Southern Dynasties. Affected by the situation of valuing literary talent above martial arts, Song Dynasty garden art made a great progress in the aspect of thinking, architecture, plants, rockery and layout of waters, the interests and artistic of paintings and poems became the most notable characteristic of gardens built in Song dynasty. Its space principle and aesthetics taste are totally different from the western gardens, which have a lot of features worthy to be learned and used in modern garden and urban designing of China.
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Kim, Jinyoung. "The View of Nobles on Marriage in the Period of Wei-Jin Dynasties." Journal of China Studies 21, no. 2 (June 30, 2018): 137–49. http://dx.doi.org/10.20288/jcs.2018.21.2.137.

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Chisoo Lee. "A Study on the poetics of the Wei Jin Southern and Northern Dynasties." Journal of Chinese Language and Literature ll, no. 68 (April 2015): 5–29. http://dx.doi.org/10.15792/clsyn..68.201504.5.

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YANG, GANG. "Study on bird image in calligraphy theory in wei, jin, southern and northern dynasties." Convergence of Humanities, Social Science an Art’s Academy 3, no. 2 (August 16, 2019): 245–56. http://dx.doi.org/10.37846/soch.3.2.245.

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Kim, Ji Hyun. "Discuss on the Celadon with brown-coloured in Wei, Jin, Southern and Northern Dynasties." Pusan Archaeological Society 23 (December 31, 2018): 55–71. http://dx.doi.org/10.47735/odia.2018.23.55.

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Vampelj Suhadolnik, Nataša. "Transmission of Han Pictorial Motifs into the Western Periphery." Asian Studies 7, no. 2 (June 28, 2019): 47–86. http://dx.doi.org/10.4312/as.2019.7.2.47-86.

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This paper examines the ways in which Fuxi and Nüwa were depicted inside the mural tombs of the Wei-Jin dynasties along the Hexi Corridor as compared to their Han counterparts from the Central Plains. Pursuing typological, stylistic, and iconographic approaches, it investigates how the western periphery inherited the knowledge of the divine pair and further discusses the transition of the iconographic and stylistic design of both deities from the Han (206 BCE–220 CE) to the Wei and Western Jin dynasties (220–316). Furthermore, examining the origins of the migrants on the basis of historical records, it also attempts to discuss the possible regional connections and migration from different parts of the Chinese central territory to the western periphery. On the basis of these approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern formed by an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs. Based on both approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern of an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs.
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Wai, Fan Ka. "On Hua Tuo's Position in the History of Chinese Medicine." American Journal of Chinese Medicine 32, no. 02 (January 2004): 313–20. http://dx.doi.org/10.1142/s0192415x04001965.

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Famed for his surgical expertise, Hua Tuo of the Eastern Han dynasty also excelled in a range of other medical treatments. It is rarely noted that Hua treated patients with a combination of drugs and acupuncture therapy and acquired an expert knowledge of pharmaceutics. The purpose of this article is to explore the rarely studied achievements of Hua Tuo in pharmaceutics, and further discuss the status of Hua in the history of Chinese medicine. The article points out that Hua Tuo inherited the medical achievements of past generations and strongly influenced the development of medicine during the Wei Jin and Southern and Northern Dynasties.
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Dissertations / Theses on the topic "Dynasties Wei-Jin"

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Cheung, Shin-yee. "A study of the tomb murals depicting the ascent to paradise during the Wei, Jin, Northern-and-Southern dynasties Wei Jin Nan bei chao "sheng tian tu" yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B38301362.

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Cheung, Shin-yee, and 張倩儀. "A study of the tomb murals depicting the ascent to paradise during the Wei, Jin, Northern-and-Southern dynasties =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38301362.

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蘇軍堡. "魏晉南北朝撰文家訓之研究= A study of textual family-instructions of Wei, Jin and North-South dynasties." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/247.

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本文旨在探討魏晉南北朝撰文家訓的興盛原委及發展現象。所謂撰文家訓 ，是指在具有血源或養子關係的家庭中，由長輩、族長和尊者，對晚輩、族人 及卑者布施的文字訓誡。 　　較諸前代，魏晉南北朝撰文家訓不但數量大增，而且篇幅內容的深、廣度也 有顯著躍進，因此學界普遍認同魏晉南北朝是家訓趨向成熟的過渡期。本文關 注的問題是：為什麼撰文家訓會在漢魏之際大量出現？而這時的家訓在內容、 撰作形式上，跟前代的作品有何分別？甚或以同時代的作品比較，不同氏族創 作的家訓在命題上存在什麼異同？以及這些特徵與差異是受到什麼因素影響而 產生的？ 　　本文嘗試以家族為研究單位，著重分析十五支具有家訓傳承現象的氏族的 撰文家訓內涵，務求找出該家族的價值取向，挖掘家訓這種為導引家族發展方 針而出現的實用文體之精神。其次，對於部分以單篇形式流傳的家訓，本文也 會將之聯繫至政治、社會的層面，考查政治氛圍、知識分子的心態和社會地位 差距，跟家訓發展的交互影響。冀能完整呈現出魏晉南北朝家訓發展的畫面。 本論文共分六章：除第一章緒論及第六章總結外，正文部分共有四章。第 二章主要疏理前人對撰文家訓定義理解的分歧，以明確研究範圍與材料對象。 第三章從史學的角度，追溯家訓文學之由來，了解其在先秦至兩漢時之遞變， 並嘗試探析魏晉家訓作品大量湧現的原因。第四章、五章則以家訓作品本身作 為考察的對象，分析當時不同地域及氏族的家訓內容特色，並會比對家訓出現 歧異的原因，外在環境因素與家訓發展的交互影響，藉此了解家訓作品中慣常 出現內容的精神基點所在。 Abstract This thesis examines the reasons of mass production and the development of textual family-instructions during Wei, Jin & the North-South Dynasties. Textual family- instructions, refers to “A written reprimand issued by the elders or chiefs whom have blood or adoption relationship with the younger. - 2 - 　Compared to the previous dynasties, textual family-instructions appeared in Wei, Jin & the North-South Dynasties not only increased in number, but the depth and breadth were also enhanced. Therefore, scholars generally agree that this is a transition period for family-instructions. This phenomenon led me to ponder upon a number of issues: Why did the numbers of family-instructions grow rapidly between the age of Han and the Wei Dynasty? Are there any differences in comparing a family-instruction in Wei, Jin & the North-South as well as in the previous Dynasties? By comparing with the contemporary works, what are the similarities and differences among them? What are the factors causing the differences and similarities? In order to approach the topic in a holistic way, this study not only explores the contents of each single family-instruction, but also reviews all works from the same clan. I sort out fifteen clans which emphasized on family-instruction heritage, so that the core values and development policy of the whole clan could be clearly observed. For those single-piece family-instruction, would be observed together with the political and social context. Therefore, through the study of the political climate, the mentality of intellectuals, disparities status in the society, the result of family- instruction development could be achieved in a more comprehensive way. This thesis contains six chapters. Chapter I is “Introduction and Chapter VI “Conclusion. Chapter II gives definition of textual family-instruction, which clarifies the scope of the study. Chapter III is written from the perspective of history, tracing the origin, understanding of the transitions, also the reasons of recruiting mass production of family-instruction during Wei, Jin & the North-South Dynasties. Chapter IV & V analyze the features of family-instruction by different clans, and find out the reasons for discrepancy. Also, the external factors influencing the contents of family-instruction will also be investigated.
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王彩雲. ""氣"與魏晉文論的主體建構 = A study on Qi and intrinsic view of literary theories in Wei and Jin Dynasties." Thesis, University of Macau, 2003. http://umaclib3.umac.mo/record=b1636203.

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Gary, Julie. "Esthétique de la musique en Chine médiévale : idéologies, débats et pratiques chez Ruan Ji et Ji Kang." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1061/document.

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Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique
In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience
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Yu-FangChen and 陳玉芳. "Wei and Jin Dynasties personal concept of name." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/80049315279254133714.

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碩士
國立成功大學
中國文學系碩博士班
100
The concepts of “physicality” and “fame” diverge in Confucianism and Tao. In regard to “fame,” Confucianism embraces the rightness of fame, while Tao adopts the non-fame perspective. As for “physicality,” Confucianism believes in sacrifice for righteousness; Tao, however, values physical being. By looking into the pursuit of immortality and fame in Wei and Jin Dynasties, this study aims to see how ancient Chinese intellectuals tried to incorporate these seemingly contradictory concepts in Confucianism and Tao. Living in Wei and Jin Dynasties, when the country divided and united from time to time, intellectuals with “physicality” and ‘fame” in mind faced the dilemma of righteousness and survival. The threat of death forced the intellectuals to think about ways to stay immortal. After some unsuccessful attempts to become physically immortal with supernatural power, they began to seek ways of spiritual immortality. As a consequence, the intellectuals accepted the fact that people would die eventually and pursued instead the “three immortalities,” which are the virtue, the merit, and the words. They ensured that their names would live after they died with solid materials, such as tombstone writing, literature works, and art works. That was the pursuit of “the prosperity of fame.” On the other hand, the intellectuals also began to pursue a higher living quality after they became well-off. Some of them led a luxurious life, and the others sought to lead an artistic life, which showed their emphasis on the spiritual life. Both the living quality and life quality for the intellectuals were outstanding at that time. That was the achievement of “the prosperity of physicality.” However, as they pursued the prosperity of both fame and physicality, the intellectuals abandoned their responsibilities and values taught in Confucianism and also ignored the Tao guidelines about peacefulness and less desire. Consequently, they benefited only themselves, instead of the country or the people. This study investigates how the intellectuals in Wei and Jin Dynasties dealt with the pursuit of both fame and physicality, which reflected the social and psychological conditions back at that time.
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Juan, Yu-ju, and 阮玉茹. "The Study on Animals’Fu in Wei-Jin Dynasties." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88212702200109813651.

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碩士
國立臺南大學
國語文學系碩士班
99
Inherited from Han Fu, the Chinese literature concerning animal was originated from the Book of Songs and Chu Ci. The ideas guiding creation in animals’ Fu became blooming in Wei-Jin dynasties during which the current politics, ideology and tendencies in society have profound influences on the animals’ Fu. It is a common practice for Wei-Jin literati to express their ideology and aspirations as well as the surrounding circumstances under the guise of animals. These animals’ Fu not only conveyed personal emotions and the frame of mind for the authors, but also stressed the inner desperation and ideology for peace and liberty. This research studies the animals’ Fu in Wei-Jin dynasties with the attempts to explore the fundamental connotation and the spiritual ideology of the literati. This thesis is constructed by five chapters through which chapter two to chapter four address the main propositions of this study. The incentives, objectives and scope of this study are formulated in chapter one within which the thoroughly review of previous relevant research results from the open literature is performed. In chapter two, the origin of animals’ Fu as well as the rationale for the prosperity of the animals’ Fu in Wei-Jin dynasties is explored based on the backgrounds for Fu’s development. The differential sentiment and aspiration from the various factions are analyzed, classified and summarized in chapter three. Chapter four examines and addresses the artistic characteristics of the animals’ Fu in Wei-Jin dynasties. In this regard, the characteristics of animals’ Fu are illustrated by examining the various themes, writing skills, means of artistic expressions, contents and the connotation of Fu. The concluding remarks from each chapter are summarized in chapter five. By way of performing this study for animals’ Fu in Wei-Jin dynasties, the research aspects for Chinese literature of Ci and Fu are broadened. Also the interior feeling and desires of the literati in Wei-Jin dynasties, as well as their psychology, aesthetic consciousness and purport are deeply understood so that the social phenomena and the trend of psychology for the literati are revealed
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Chin, Ko A., and 柯阿青. "Literati’s Aesthetics toward Life of Wei-Jin Dynasties." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/18376656555951047474.

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碩士
玄奘大學
中國語文學系碩士在職專班
100
Wei- Jin Dynasty was an era of high self-awareness. During the era, literati experienced emancipation and liberation of their talents and personalities. Every literatus lived out the unique value of their own lives content with vitality and confidence. So that we can see their inner enthusiasm and passion radiate. This research was based on A New Account of the Tales of the World to investigate the aesthetic of the literati in Wei-Jin Dynasty. Aesthetic has been widely discussed in Chinese history and categorized by factors such as individual stance, thinking pattern. In addition to those, influenced by literature, Wei-Jin literati formed different perspectives toward aesthetic. Abundant and various contemporary aesthetic was then revealed. In this research, the researcher discussed the origin of Chinese aesthetic, from ancient Chin to Han Dynasty, to investigate the foundation of Wei-Jin Dynasty aesthetic in chapter 2. In chapter 3, the researcher analyzed the outward and inward images of the literati. In Chapter 4 and 5, the researcher gave a whole picture of the material lives of the literati regarding to their drinking behavior and dressing. In chapter 6, the researcher investigated the literati’s banquets, touring, discourse, instruments playing and the cultivation of culture appreciation. Finally, the researcher studied the meaning of the literati’s living aesthetic.
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Lu, Hsiu-tzu, and 盧秀慈. "The Study on Utensil Fu in Wei-Jin Dynasties." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31278620830714925433.

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碩士
國立臺南大學
國語文學系碩士班
99
Utensil Fu originated from Pre Qin Dynasty, and popularized in Two Han Dynasty. Until Wei-Jin Dynasty, it had not only inherited with subjects and styles used in Han Fu, but also created a variety of different subjects. This expands range and also helps develop unique styles for Utensil Fu writings. In addition, many writings with same subject or same tone are created by a group of scholars. With interactions amongst scholars, Utensil Fu creations had reached its peak achievement. For Fu scholars in Wei-Jin Dynasty were influenced by political and social atmosphere and their own interpretations for utensils, they had somehow referred to those relevant thoughts in their writings. In those Utensil Fu writings, they had contained these scholars’ thoughts and feelings through utensils within. Except for manifesting Fu scholars’ ambitions in order for them to expressing their feelings to beauty, it also helps them demonstrate their own talents. In order for art accomplishments in Fu writings, Fu scholars had attentively constructed writings’ structure and selected use of terms and also had made their best attempts and efforts in describing utensils’ appearances and functions to visualize images of these utensils. Therefore, Utensil Fu in Wei-Jin Dynasty had made a splendid milestone in literature history and also had reserved precious cultural assets for later generations.
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Chen, Guan-Min, and 陳冠閔. "Comments about Filial Ruled Practice of Han, Wei and Jin Dynasties." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/59141055846775033345.

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碩士
淡江大學
中國文學系碩士班
96
The idea of the “Filial Ruled” is based on the “Book of Filial Piety”, we can grasp the concept of “Filial Ruled” through the content and discussion in the “Book of Filial Piety”. Within the area of “Filial Ruled”, “Political Filial Piety” has the function of harmonizing between “Loyalty” and “Filial Piety”, increasing the possibility of “transfomring filial piety to loyalty”. Therefore, this article first affirms the time when the “Book of Filial Piety” was written. It will then focus on its thoughts and background, in order to grasp the essence of “Filial Ruled” in the “Book of Filial Piety”. This article considers Western Han Dynasty as the initial stage of practicing “Filial Ruled”, which became popularized in Eastern Han Dynasty, but decades in Wei Jin Dynasty. With the above discussion on the three stages, we hope to understand how the idea of “Filial Ruled” is carried out in real life, as well as its needs and restrictions.
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Books on the topic "Dynasties Wei-Jin"

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Wei Jin sheng huo lüe ying: A glimpse of life in Wei Jin Dynasties. Shenyang: Shenyang chu ban she, 2002.

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Wei Jin xuan xue yu Zhongguo shen mei fan shi = Metaphysics in Wei-Jin dynasties and Chinese aesthetic paradigm. Beijing: She hui ke xue wen xian chu ban she, 2013.

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Wei Jin Nan Bei chao mei xue fan chou shi: History of aesthetic category in Wei-Jin and Northern and Southern Dynasties. Jinan Shi: Qi Lu shu she, 2011.

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Wei Jin Nan Bei chao Han yu lian ci yan jiu: Studies on conjunction in China's Wei, Jin and Southern & Northern dynasties. Beijing: She hui ke xue wen xian chu ban she, 2014.

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Wei Jin Nan Bei chao wu li zhi du kao lun: Research on wuli system in the Wei Jin Nan-Bei dynasties. Beijing Shi: She hui ke xue wen xian chu ban she, 2009.

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Guo li li shi bo wu guan (China). Bian ji wei yuan hui., ed. Wei Jin Nan Bei chao wen hua yu yi shu: Arts and culture during the Wei, Jin, Southern and Northern dynasties, 220-589. Taibei Shi: Guo li li shi bo wu guan, 2006.

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Guo'an, Zhang, ed. Wei Jin Nan Bei chao shi: A history of the weijin southern and northern dynasties. Beijing Shi: Ren min chu ban she, 2013.

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Wei Jin Nan Bei chao kao ke zhi du yan jiu: A study on the merit system in the Wei, Jin, Southern and Northern dynasties. Beijing Shi: She hui ke xue wen xian chu ban she, 2009.

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Di qiu chu ban she (Taipei, Taiwan). Bian ji bu., ed. Wei Jin Nan Bei chao: The Wei, Jin, Northern Southern Dynasties. Taibei Shi: Di qiu chu ban she, 1992.

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The Chinese History -- Qin,Han,Wei, Jin,Southern and Northern Dynasties (Simplified Character edition). China Higher Education Press, 2001.

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Book chapters on the topic "Dynasties Wei-Jin"

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Runzhen, Niu. "Changes and destruction of the Ye City in the Wei and Jin dynasties." In The Origin of East Asian Medieval Capital Construction System, 156–71. Abingdon, Oxon; New York, NY: Routledge, 2021. | Series: China perspectives. History | Translation of: Gu du Yecheng yan jiu: zhong shi ji dong Ya du cheng zhi du tan yuan.: Routledge, 2021. http://dx.doi.org/10.4324/9781003168720-5.

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Xu, Hong. "The Time After the Wei and Jin Dynasties—City Wall and Grid Pattern." In Dynamic Interpretation of Early Cities in Ancient China, 19–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-2387-5_2.

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Fu, Chonglan, and Wenming Cao. "South-Ascending and North-Descending Phenomenon in Urban Development in Northern Wei, Jin, and Southern and Northern Dynasties." In Introduction to the Urban History of China, 129–56. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8207-9_13.

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"Wei, Jin and the Northern and Southern Dynasties." In The Birth of China Seen Through Poetry, 74–93. WORLD SCIENTIFIC, 2011. http://dx.doi.org/10.1142/9789814335348_0007.

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"Poetry in the Han, Wei, and Jin Dynasties." In An Introduction to Chinese Poetry, 93–144. BRILL, 2017. http://dx.doi.org/10.1163/9781684175833_006.

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"Poetry in the Han, Wei, and Jin Dynasties." In An Introduction to Chinese Poetry, 93–144. Harvard University Asia Center, 2018. http://dx.doi.org/10.2307/j.ctvrs8z9r.10.

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"Chinese Aesthetics." In Advances in Religious and Cultural Studies, 26–72. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1702-4.ch002.

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Abstract:
This chapter studies the development and basic ideas of Chinese aesthetics by reviewing the history of aesthetic perspective from the Han Dynasty; the Wei, Jin, and Southern and Northern Dynasties; the Tang Dynasty; the Five Dynasties; the Song and Yuan Dynasties; and the Ming and Qing Dynasties. The ancient Chinese artists pursued the artistic conception of beauty, namely, the integration of mind and objects, sentiments, and scenes, and the fusion of subjective emotions and objective landscape. Nevertheless, this conception overlooks the function of practice, the intermediary between mind and objects. Actually, there are three fundamental elements: emotion (first feeling) of aesthetic subjects; artistic conception sensed through the painting brush in practice (perception); poetry, books, songs, and paintings as artistic finished products (containing essence and sentiments). It is the combination, conformity, and harmonious co-existence of these three essentials (namely subject–practice–object) that constitute the art system aesthetics or design aesthetics.
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"Neo-Taoism and Medicine During the Wei, Jin, Southern and Northern Dynasties." In A History of Medicine in Chinese Culture, 451–90. WORLD SCIENTIFIC, 2020. http://dx.doi.org/10.1142/9789813237995_0009.

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An, Jiayao. "Glass Technology of the Wei, Jin, and Southern and Northern Dynasties in the Middle and Lower Reaches of the Yellow River and Yangtze River of China." In Series on Archaeology and History of Science in China, 309–52. WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811229770_0010.

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Conference papers on the topic "Dynasties Wei-Jin"

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Peng, Xirui. "A Brief Analysis of Honeysuckle Patterns in Wei, Jin, Southern and Northern Dynasties." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.056.

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Shao, Changzong. "Discussion on the Humanities and Artistry of Buddhist Sculptures in Wei, Jin, Southern and Northern Dynasties." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.008.

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Yang, Qun. "Revisiting the Metaphysical Verses of Wei and Jin Dynasties: The Combination of Philosophical Discourse and Literary Discourse." In 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ssehr-17.2018.20.

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Zhang, Shaoduan. "Discussion on the Decorative Interest and Charm of Figure Paintings in the Wei, Jin, Southern and Northern Dynasties of China." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.041.

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Yunlong Qi and Xu Zhou. "Notice of Retraction: Enlightenment of artistic features of soul vase in Wei and Jin Dynasties on modern art design of ceramics." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. E-Business, Creative Design, Manufacturing. (CAID&CD 2009). IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375385.

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