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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 esthétiqueIn 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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WU, PING-HSUN, and 吳秉勳. "Studies on thought of Qi Transformation of Wei and Jin Dynasties." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/11844932567145106105.
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Yin, Hua, and 尹. 華. "THE Intellectuals’ Economic Conditions in Wei, Jin, and the South Dynasties." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/c856v8.
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碩士國立清華大學
中國文學系所
107
Daily life is closely related to literary creation. To understand the author's creation, it can be analyzed from the inside work. But there is another direction of observation, that is, from his understanding of life situations. The part that has a decisive influence in daily life is economic life. Almost the Six Dynasties literati have a social identity is an official. The identity of officials guarantees their quality of life(Social status and material life), their creative period is also coincident with their careers. Therefore, the discussion of the thesis is generally divided into sections before and after their official life. Before the literati of the Six Dynasties entering the official, they used the income and ancestral property of their fathers as their economic source. Most of them came from aristocratic families. In the absence of a home accident，they will receive a good family education and prepare for the future career. In addition, superior material life, but also enrich their interests. And if there is a change, if the father died early, their lives will be in a state of poverty. In addition to relying on relatives and old funding, they have to farm or do business for self-sufficiency. They can only rely on self-study for their studies. The literati of the Six Dynasties entered the official career. However, after the fall of Luoyang and setup Jinlin, for lack of court costs, relying solely on salary is difficult for them to support their families. Therefore, they will use the chance of expatriate work (the local rich people would welcome new arrivals and farewell the former official), rewards, corruption and bribery to solve the shortage. Even a clean official, the high official position is not enough to support the family, and the emperor's extra reward is needed. In addition to this formal and gray income source, they are not afraid of self-employed industries. The self-operated industry can be real estate (land, mountain, etc.), trade or business, or profitable by using skills. In terms of expenditure, in addition to the general household, they must also face some important large expenses, such as weddings, entertainment, hobbies, and even accidents. This is the cost they have to pay more than people in other classes. All in all, it takes a lot of effort to maintain a good life in the Six Dynasties. You can not rely on the identity of Nobles safely enjoy the wealth.
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Lee, Rui Fen, and 李瑞芬. "The Trend of Xiequ during Wei, Jin, Southern and Northern Dynasties." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/j4h7e4.
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碩士國立臺灣大學
中國文學研究所
107
The objective of The Trend of Xiequ during Wei, Jin, Southern and Northern Dynasties is to explore the xiequ phenomenon during this era and its contributing factors. As the western humor theories is already well developed, they are able to provide much reference to the purpose of this dissertation. As such, this dissertation first provides an introduction to three major humor theories—the Superiority Theory, the Relief Theory and the Incongruity Theory. Of which, the Incongruity Theory provides the most holistic view on humor, it therefore serves as the main theoretical reference of this dissertation. The chapter regarding xiequ in Wen-Xin Diao Lung is the earliest Chinese theoretical analysis on xiequ. Liu Xie graded the three objectives of xiequ—admonishing, entertaining and mocking, in terms of their morality. However, there is another objective of xiequ which Liu Xie had not mentioned, that is adopting a conduct of ridiculosity to repel coveters. Among four purposes of xiequ, entertaining and mocking are most common. As for observing the trend of xiequ, this dissertation focuses on the literary essays of xiequ and situational dialogues respectively. For literary essays, the authors of the era introduced new content that no longer emphasized on format and propriety, into traditional genres that suggested otherwise. It was done so via imaginary characters and fanciful plots to lay criticism on current affairs. In the meantime, the authors also were more than willing to take on distasteful topics and techniques. They were almost too keen to disregard propriety and offend others. For situational dialogues, xiequ enhanced portrayal of personal tastes and social events. Xiequ was also evident in public opinion. Due to moral compulsion, the public opinion was usually shaped as brief comments or doggerels to mock certain people, events and phenomena. Xiequ with an admonishing purpose was in decline in this era. Xie An is the only exemplary figure in this regard. Xiequ where one adopting a conduct of ridiculosity reached pinnacle during the end of Wei and the beginning of Jin, in which Ruan Ji and Liu Ling of the Seven Sages of Bamboo Grove were the most iconic figures in this regard. Tao Yuan Ming from a later period no longer had the same intensity as Ruan and Liu. The popularity of xiequ during this era could mainly be attributed to the diminishing influence of Confucianism as the domineering zeitgeist and its position was taken over by Taoism. The concept of dualism in Taoism underscored various incongruity and contradiction, which coincided with the mechanism of xiequ. In the meantime, the era had seen the clashes between the true color of numerous usurpers and moral values. As such, many had diverted their service toward the country to their families and clans instead. The portrayal of one’s talents became the top life goal for many. The popularity of xiequ was heightened by the political and social climate, as well as the shift in zeitgeist, and thus a sublime trend of xiequ was formed during Wei, Jin, Southern and Northern Dynasties.
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Shu-chun, CHIANG, and 江淑君. "The Metaphysicization of the Confucian Analects in Wei and Jin Dynasties." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/36911447599410151828.
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Hsu, Yu-Wen, and 許又文. "The Scholarship of the Pei Family in the Wei and Jin Dynasties." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/38449157482409170829.
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Sheng-HanYang and 楊昇翰. "Research on Literature and Culture about Wine in Wei and Jin Dynasties." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/65211138553079676747.
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碩士國立成功大學
中國文學系碩博士班
100
The Chinese people like to drink. We can see the wine in most situations; including worship, banquets, weddings and funerals…etc. It shows that the wine has been rooted deep into everyone's daily life, closely together with the Chinese culture. Because of political instability and frequent unrest in Wei and Jin Dynasties, people had no security of their lives. Their pessimism about life increased the demand for wine. Scholars were often involved in politics struggle, and lost their lives and families. Aspiring people despaired of the unstable political situation and unachievable ideals. Ordinary people profoundly felt powerlessness for the chaotic social order, and natural and man-made disasters. In such a hardship of the times, people who saw the ugly reality were anxious to get rid of everything. Therefore the drinking fashion prevailed over the whole area little by little. Besides, the mysterious theory was known everywhere, so intellectuals in Wei and Jin Dynasties showed particular drinking style under the influence of Lao-tzu and Chuang-tzu theory. These enabled the wine culture in Wei and Jin Dynasties to produce qualitative changes and characteristics of the times. Literati in Wei and Jin Dynasties created varied literatures with emotional and sentimental writing style that lighted up the dark period. They showed their own style and described every kind of social phenomenon with literatures. Such a passionate and contradictory era with remarkable spirit style and outstanding cultural customs also created a wonderful wine culture. A large number of the wine literatures with different contents were written, including Wine Poem, Wine Ode, Wine Admonition, Wine Mandate, Wine Inscription, Wine Carol, Wine Hymn, Wine maxim, Wine Instruction, and so on, full of varied thoughts and feelings. All of them were realistic portrayals about Wei and Jin Dynasties, filled with fashion and interest about wine. It is worthy to analyze further and realize them. This thesis discusses the meaning of wine through an overview of the wine literatures in Wei and Jin Dynasties. It also compares their similarities and differences from the descriptions of each literary form, and analyzes the writers’ intentions. And then, we may explore many aspects of the wine culture in Wei and Jin Dynasties, including the drinking gatherings of the literati, intellectuals’ drinking behavior, the dependence on wine in daily life, and the attitude toward wine. In addition, the views of Buddhism and Daoism about wine in Wei and Jin Dynasties are also discussed in the thesis to show many facets of the wine culture in the Wei and Jin Dynasties.
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林雅琪. "The Acceptance of Chu-Ci in Wei-Jin and Southern-Northern Dynasties." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/hbh3dv.
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博士國立高雄師範大學
國文學系
103
The Acceptance of Chu-Ci in Wei-Jin and Southern-Northern Dynasties Abstract The study of Chu-Ci during the period of Wei Jin and Southern-Northern Dynasties was deeply influenced by the politics, social environment, elite groups, and aesthetic trend during the time. It was also in this period, Sao and Fu were separated under the raising awareness of literature, and hence the independent literary status of Chu-Ci was established. During its dissemination, Chu-Ci was in-depth studied from different aspects, such as its annotation, phonology and the various categories. The absence of Chu-Ci studies in Han Dynasty was fulfilled by its following period—the Wei Jin and Southern-Northern Dynasties. Qu Yuan , who was recognized as a nobleman during the Wei Jin and Southern-Northern Dynasties, his literary achievement was reviewed separately from his character. Critics on Qu Yuan also changed from direct criticism to deliberate questioning. It is also in this period that Qu Yuan was reviewed from his literary ingenuity and sentiments, thus, one of his images was restructured specially known for this epoch. As for the reviews and imitation artworks in this period, such as: Fu, parallel prose, poetry, and mysterious fiction novels, which were not only created based on the literary spirit of Chu-Ci, but also showed the attempt to make a break-through out of the original masterpieces. The innovated structures, broaden imagery, and elaboration on emotions and phrases are the expanded characteristics from traditional study of Chu-Ci. In addition, the rise of new aesthetic value had anchored the imitation works of Chu-Ci from reflecting life experience to become more closely intertwined with everyday life of folks. The introverted and deep emotion of Chu-Ci also gave birth to the sorrowful, weeping but gorgeous literary imitating works. The literary spirit of Chu-Ci can be regarded as the force which established the contemporary aesthetic sense of melancholy. In conclusion, the study of Chu-Chu in Wei Jin and Southern Northern Dynasties is difficult due to numerous crucial research data of Chu-Ci were lost in unrests of an instable time. However, due to its strong and colorful style, the study of Chu-Ci during this period has its unique value and significance which not only plays as an important role in studying the history of Chu-Ci development but also serves as the solid foundation for Chu-Ci studies in the following Tang -Song Dynasties. Key words: Qu Yuan; Chu Ci; Study of Chu Ci; Wei Jin and southern-northern Dynasties
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Hsu, Ju-Yu, and 徐郁茹. "Sense,missing,officer,sedusion──The waiting feelings of Wei and Jin dynasties." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/949d4p.
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碩士國立中興大學
中國文學系所
103
Songs and poems that people used to communicate and express feelings early carrier, "Shi Yan Zhi, singing words", and therefore poetry has its unique value and significance, has a long history. In the history of evolution where they evolved, Zheng Xuan "PoetrySpectral sequence ":" Gong Chung Tak, so will shun its beauty; thorn ridiculed lose, so all its evil Kuangjiu their party was law are evident, as a warning to the next person. "Revealing critique poetry full play the political reality of the important remedy enlightenment. And Wei and Jin Dynasties "literary consciousness" promotion, poetry at attention "emotional development", positioning there.A lot of changes, so that the main political orthodoxy of deregulation works to highlight and broaden the horizons of poetry, by this glimpse into the more hidden among poets beauty and sense of exploration "wait" theme as well as behind the "affection." In this paper, waiting for the title, cover "wait" lurking in the psychological state of being, everyone has it, including lack of heart and desire can not be achieved immediately, lurking out of mind because of this process, resulting in subtle changes. Wei Jin poet by Costa, constantly showing now "waiting" subtle euphemism pinned their vision, and up in the desire that period of time as full of hope and anguish intolerable course, is a self-analysis, contemplation. Responding to this article"Wait" situation of the outstanding case, through text analysis method for the spindle, then served with classification, comparison and integration of social. Background will confirm each other, pull out "waiting" for their different mentality, extending different results.This article explores the category of "individual consciousness" Wei Jin germination mainly traced "Book of Songs," "Songs of the South" and thenYue Han Dynasty, poetry, to "wait" to tease out the approximate pulse stream, then fine focus Wei Jin Costa, convergence, "etc.Be "along for the Year of the theme from" King (thing) "," things "into" love "," reason "to explore the layers built poets structure of "wait imagery," and the subsequent deep "wait feelings," Wei and Jin Dynasties under highly conscious understanding "wait" Similarities of individual emotions, and they do not show the face of the stance phase."Wait feelings" and there has been a significant number among Costa, pregnant people waiting lover, his friends, relatives wandering hoping to return home, but unfortunately the timing of standby time, Mourning, haphazard, there are "waiting" disappeared. Therefore,this boils down to a theory by tracing waiting to come from somewhere, and further explore the scenes of the layout, how to make sense to wait.Love nature pouring, echoing inside and outside. They wait for more poems appear blurred, nothing came of the results, apparently inherited US sad poetry of this period. It is noteworthy that in the chaos of the environment and harbor grief, the poet face "wait" Not just only tears, reclusive, but try digestion, so "wait" rich and diverse topics.
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Lai, Yi-Chun, and 賴怡君. "A Research on the Interaction Tale ofSupernatural Fictions in Wei-Jin Dynasties." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/5c4mkt.
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Liang, Han-Chun, and 梁涵珺. "A Study of Farewell Poems in Wei, Jin, Southern and Northern Dynasties." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/82602797223879274553.
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碩士國立臺灣大學
中國文學研究所
103
Throughout the history, people all face the experience of parting or bereavement. Now that people encounter the farewells, they must sink under deep grief and be eager to pour out the emotions afterward. When it comes to the poets, Chinese character is the best tool to express their emotions. In this manner, starting from the Yan Yan poem in The Book of Songs (《詩經‧燕燕》), poets convey the sadness of parting and the longing after partings again and again. We can say that farewell is one of the most significant topics in Chinese literature. Although farewells happen frequently to every Chinese in every dynasties, the experience of parting has become an apparent phenomenon in Wei, Jin, Southern and Northern Dynasties(魏晉南北朝) owning to the numerous battles. In this era, the literati pose great importance on sentiments, which are usually triggered by farewell conditions. Facing these situations, poets often get into deep thoughts. Besides, this era follows Pre-Oin (先秦),Han Dynasties(兩漢), and opens up the golden age of Tang Dynasty(唐朝), performing as a medium between them. Therefore, this thesis aims to study the writing pattern of farewell poems in Wei, Jin, Southern and Northern Dynasties and discusses their development. The dedication and reply poems (贈答詩) developed by Cao Cao(曹操),Cao Pi(曹丕),Cao Zhi(曹植)and the literary organization of Jian-an Age(建安文學集團), poems of farewll banquets(祖餞詩) in Western Jin dynasty(西晉), landscape poems(山水詩), tour Poems(遊覽詩), and roaming poems(行旅詩) in the Southern Dynasties(南朝) are all considered farewell poems. Once the poet expresses the sentiments of separation in the work, the poem is considered as farewell pomes(離別詩). To be more precisely, poets in the Eastern Han Dynasty(東漢) are relatively simple, they only write about the farewells. Later in Wei, Jin, Southern and Northern Dynasties period, farewell pomes not only contains the feeling of separation, but also poets’ thoughts toward life. About the research methods, this thesis classifies farewell poems into four categories according to the identities and types. The first one is the traditional custom passing down from The Book of Songs, referring to the government feast the farewell parties for those retired officials. After Wei, Jin, Southern and Northern Dynasties, this type of farewell pomes are made of all officials to appreciate the royals and the retired colleagues; lastly, the poems will contain some sentiments of separation. The second one is farewells with friends. In Han Dynasties, the characters of these poets are full farewell sentiments. However, since Wei, Jin(魏晉), the poets use four-characters (四言詩) and five-characters poems(五言詩) to represent rites and affections respectively. The third one is the people who must leave their countries. Homelands and countries are forever the distinctive place(地方) to the poets. Homesickness becomes the constant topic of poets. The last one is the Yearning women(思婦) who separate from their husbands. There are different representations before Wei, Jin, but the farewell poems’ context gradually becomes the same mode. Poets express yearning women’s fear of being abandoned due to their senility and ugliness. Since the Nineteen Old Poems(《古詩十九首》)in Eastern Han Dynasty, most poems focus on that the fore-coming of separation. Their affection accumulates gradually, and reaches the upper limit at the time of separation. In addition to this style, Wei, Jin, Southern and Northern Dynasties creates a new manner: the poets immerse in the new and good memory via recalling past memory after separation. As for home-leaving poems, poetry of homesickness in Wei, Jin, Southern and Northern Dynasties, poets compare homeland with foreign land, and then define an area as their homeland. Poets indicate their unaccustomed to foreign land by describing different customs of foreign land. The passing of time makes people more mature, especially the yearning women. They talk to the past and finally know that their husbands would never come back. Since Qu-Yuan(屈原), poets are anxious about the passing of time, and long distance is another reason of depression. The farewell pomes before Wei, Jin often use stars and borders to represent long distance. Besides, we will find that there are no clear descriptions about other details, such as people, time, or site. Because their focus is the affection of leave, not space. Until Wei, Jin, Southern and Northern Dynasties, poets create new methods: using the geographical names to make the distance clear and represent the path they walk along. When they recall of the geographical names, they also evoke the feeling of farewells. The scenery in poetry of Pre-Oin and Han Dynasties are used for atmosphere. Nevertheless, the location after Southern Dynasties is more clear because poets are more fond of describing the natural scenery. In addition, poets represent the identities, and explain why farewells happen. Consequently, every farewells become unique. Reading farewell pomes of Han Dynasties breaks our heart is because that the poetry did not indicate a clear background. The most obvious sensation in a vague condition is the sentiments. Because poets have similar affection, they all use hope and dream to express their overload sentiments. They eager to have wings to fly across the sky via wind and send massage via clouds. They also want to come back home in the dream when they sleep. However, farewell pomes became the exclusive right of poets since Wei, Jin, Southern and Northern Dynasties. Poets emphasize themselves via farewell poems. According to the contents, most of them are the choices between being government official or retired. Because the farewell pomes are usually made for the poets’ friends, the poets would express their thoughts and difficulties other than yearning. Moreover, poets present themselves to their friends and future readers via poetry. It reflects the inclination that they want to be heard and understood. As a result, farewell pomes become the specific expression of the poet’s affections.
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FANG, HSU YUEH, and 徐月芳. "The Research of Letters during Wei, Jin and Southern and Northern Dynasties." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/84629447271589740467.
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Liu, Yun-ju, and 劉芸如. "A Study of Poems with historical writing in Wei and Jin Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/03787982079051039359.
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Hui, Chuang Chien, and 莊千慧. "The investigation of the calligraphic theory during Wei-jin Nan-bei Dynasties period." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/07988210434714033882.
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Yi-ChunLiu and 劉怡君. "A Multi-dimensional Research of the Humor Phenomenon in the Wei-Jin Dynasties." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/79581174211528859248.
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碩士國立成功大學
中國文學系碩博士班
99
The Wei - Jin Dynasties are the famous troubled times in Chinese history. However, in the dismal age, people do not lose the ability of laughing; instead, they try their best to show their humor in various ways such as absurdities, wits contests, ironies, consolations in accordance to their purposes. This seems to be a part of the literati’s life as though they want to jeer at the mercilessness of the age. The humor phenomena in the Wei - Jin Dynasties, including the literati’s jokes and absurdities, are popular in the literati cultural activities then; for example, the competition of status, the discussion of Buddhism and Neo-Taoism, the commentary on literati, the compliment on queerness and luxury, the fondness for alcohol and drugs and so on are all metaphors of the humor. Therefore, the culture of the Wei - Jin Dynasties is the medium for the observation on the humor phenomena at that time. After understanding the cultural background of the humor in the Wei - Jin Dynasties, the writer continues to focus on the contents and characteristics of the humor phenomena and explore from the following three aspects: the object, the theme type and the language art. Therefore, we can see the metamorphosis of the ethical relationship, which is caused by the humor phenomena in the Wei - Jin Dynasties, the purposes and functions of different kinds of humor phenomena, and the language interest from various linguistic and rhetorical skills. From the aspect of contents and characteristics, the humor phenomena show the deconstruction of tradition and also imply the reconstruction of culture. The multi-dimensional views of humor phenomena should be researched from more complete angles. So the writer finds the humor phenomena interweaved by the contradiction, the anxiety, the deep grief, the critique, the doubt, or the thirst for detachment through the reply between subject and object in the humor phenomena and the exploration on the opposite complementary relationship between the positive and negative aspects. Accordingly, this kind of humor is a delight formed by the dolefulness. The amphibian presented by the humor phenomena demonstrates the literati’s contradiction to the obeying or not in the Wei - Jin Dynasties and also displays that because of the monopolization of the political and economical profits, rich people have higher artistic appreciation, like to have a speech contest of wits during the social engagement, and enjoy showing off their pedigree. These are the breeding ground of the humor phenomena and reflect the changefulness of the politics and society at that time. Besides, owing to the popularization of Buddhism and Taoism, the multi-dimensional thoughts help the vigorousness of cerebration. The above all promotes the humor phenomena.
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XU, SHU-XU, and 許淑絮. "The Course of Kuan--Yin Beliefs on Wei Jin Northern and Southern Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/44530122341667365726.
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Wu, Ping-Hsun, and 吳秉勳. "The study of the Confucian Temple School in the Wei and Jin Dynasties." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/25749104102220117824.
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博士東海大學
中國文學系
105
The propose of this paper is to study and research the " Confucian temple school " system by Wei and Jin Dynasties, and explore the origin, development and evolution of this educational model. In addition to discussing it with the official schools system, Confucian culture, education of Confucian and other aspects of the relationship, in order to show the " Confucian temple school , official schools , Confucianism" relationship. I hope to use this related research to examine Chinese tradition culture and education institutions of the practical impact, as well as the future academic system, ritual activities and architectural layout for the various inheritance of this system. The study of " Confucian temple school " is a new topic that has been gradually concerned by many fields of academia in recent decades, and the related research in field of literature and history for China's " Confucian temple school " is nearly ten years before the formal rising. However, the results of study for the " Confucian temple school " and its related research are still weak, there are room to continue to explore and pending to solve. For example, the " Confucian temple school " refers to the establishment of Confucius Temple in educational institutions such as schools, it held a "ceremony" in the Confucius Temple in the school garden, so in the school system include both teaching space and sacrificial sites. Therefore, the basic concept of the ‘Confucian temple school’is set the ‘school’ to teach and build the ‘temple’ to Sacrifice in the same space field. On the one hand, Confucianism taught through the school education; on the one hand, the Confucian sages are worshiped to express their respect for the contents of their doctrine and moral beliefs. This article argues that " Confucian temple school " is a kind of teaching system which is attached to the cause of culture and education. It is a kind of special construction under the Chinese tradition education system, it has always been linked to the Chinese tradition history of academic, history of educational and history of cultural, and must be involved in Chinese literature, thought, history, architecture and other fields. It is an important concept issues cannot be ignore when we study official schools and Confucian scholarship. In particular, the construction of " Confucian temple school " and system, ritual and other related planning, but also for an time of philosophy of Confucianism on the degree of emphasis on a profile. Therefore, this article also tries to discuss the construction of the " Confucian temple school " education system in the Wei and Jin Dynasties as a circumstantial evidence that Confucian scholarship did not intermittently develop at that time.
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Yen, Fang-mei, and 顏芳美. "The Study of Ni-Zhou Composed Poems in Wei Jin And six Dynasties." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/47033737516620384961.
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碩士國立臺南大學
語文教育學系教學碩士班
94
The reason why Ni-Zhou (a work done in the manner of a certain author) Phenomenon became the feature in the literary arena in Wei Jin And Six Dynasties is that it was the way of learning composing a piece of prose writing, literati sing the same topic, and then the literati’s motivation of Ni-Zhou became complicated, plus the advocate and encourage by the leaders of literary groups, so it turned out to be literary practice. Wei Jin and Six Dynasties was not only the era of “literary forms” with great development, but also an initiating ear of pursuing “estheticism” poetic style. Before six dynasties, Chu Ci (Songs of the South or Songs of Chu) and Gushi (old poems) had the form of composed poems. The form of “composed poems” was greatly influenced by Chu Ci and Gushi. The poets in Wei Jin and Six Dynasties preferred to express their emotion and ambition by “composed poems”, while from Ruan-ji, Lu-ji, Tao Yuan-ming in Wei Jin to Nan dynasty was the most popular, especially five-eight-character poems. Ni-Zhou composed poems is the change of the style in single piece of poems. The single piece of poems were not enough to express the complete idea so the composed poems appeared. Lu Ji’s“Ni Gu” and Ruan-ji’s “Yong Hue” were the start of composed poems. Consequently, literati used composed poems to express, sing history, narrate, and mock, so the form of composed poems was not accidental and irrelevant but meant a lot from literati’s recognition The feature of Ni-Zhou composed poems in Wei Jin and Six Dynasties was represented in the particular pairs of sentences, the manipulation of rhetoric skills, abundant allusions, the pursuit of aesthetic poem styles, and full of the appreciation of the beauty of the individual subject. For example, “Wen-hsin tiao-lung, Ming Shi pian” said “the antithesis is important; new and strange idea is pursued; the skill to describe the scenery is excellent.” Which can be the portrayal of Ni-Zhou composed poems in Wei Jin and Six Dynasties. The chapter of this dissertation is described as followed: Chapter one: The introduction of this dissertation, the range of study and material, study methods and the description of steps. Chapter two: The definition of “Ni-Zhou”, to trace back the orgin of the composed poems, to discuss the reason of forming composed poems, to categorize the composed poems in Wei Jin and Six Dynasties, to discussion the motivation of Ni-Zhou, ways of imitation and style of composed poems, the inheriting of styles by the ancients, to final explore the definition of composed poems on the basis of scholars’ statement, and then to divide the ways of presentation of composed poems into 3 styles with the examples. Chapter 3: The classification of Ni-Zhou composed poems. This includes the content and intention, and implied meaning of composed poems. Plus the exploration of the origin of the composed poems and scholars’ evidences. Chapter 4: To discuss the technique of art creation in each composed poems. Chapter 5: To discuss “Ni Gu” (to restore ancient ways) and “innovation”. The ancients’ “Ni Gu” actually means a kind of innovation. The remarkable examples would be listed, and their contribution would be described as well as the influence of their work. Chapter 6: Conclusion.
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Chen, I–chun, and 陳宜均. "The Study of Image Theories of Chinese Calligraphyin Han–Wei and Two–Jin Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/95137579139041082261.
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博士淡江大學
中國文學系博士班
98
Image Theories of Chinese Calligraphy represents the starting point of calligraphy theory, evolving from the Han–Wei dynasties through to Two–Jin dynasties. By capturing their experiences of nature in calligraphy, practitioners discovered they might express a more profound sense of universal meaning. This dissertation explores that period, and the way in which nature inspired calligraphers to write and develop calligraphy as an art. This dissertation is presented in five chapters: The first is the introduction. The second to fourth chapters are the main body of the dissertation. The second chapter, “the emergence of Image Theories of Chinese Calligraphy”, we discuss the sources of the theory. This chapter contains three parts: 1) to distinguish the rules of Image Theories of Chinese Calligraphy from the rules for construction of pictograms as used in the Chinese language; 2) the emergence of a distinctly individualistic school of thought among scholars of the Han–Wei dynasties, and the mutual influences which began to occur between the fields of calligraphy and other arts; 3) to present an original theory, namely, that Image Theories of Chinese Calligraphy is based on “YI4”（易） thinking as it existed at the end of the Han–Wei and Two–Jin dynasties and that its development was influenced by it during that period. The third chapter, “the theoretical analysis of Image Theories of Chinese Calligraphy” is a review of the literature, with a focus on the evolution and development of Image Theories of Chinese Calligraphy. The fourth chapter “the aesthetic ideology of Image Theories of Chinese Calligraphy”, we explore the construction of Image Theories of Chinese Calligraphy as it relates to the concurrent emergence of Wei–Jin dynasties metaphysical philosophy; from this basis, we may develop. The Metaphysics of Calligraphic Arts from within the broader context of calligraphy Image Theories of Chinese Calligraphy. We also analyze the central thinking of aesthetic thought in Image Theories of Chinese Calligraphy , which is: 1) “YI4”（意） – attainment of aesthetic perfection; 2) “HE2”（和） – aesthetic awareness; 3) “SHI4”（勢） – artistic skill. The fifth chapter is the conclusion, namely, that Image Theories of Chinese Calligraphy establishes the status of Cursive script within Confucian thought. Through the philosophy of “YI4”（易） calligraphy becomes an art through which the artist experiences “DAO4”（道）. During the Wei–Jin dynasties, the study of Wei–Jin Metaphysical philosophy was seeking the truth of existence; against this backdrop, those calligraphers who drew their inspiration from nature were deeply influenced by the discussion of Wei–Jin Metaphysics. Calligraphy thus becomes a way to experience “DAO4”（道）. During the Wei–Jin dynasties, by incorporating the tenets of “YAN2 YI4 ZHI1 BIAN4”（「言意之辨」）, Image Theories of Chinese Calligraphy became the route to artistic and symbolic expression of the full depth and dimension of the world. “The Metaphysics of Calligraphic Arts” flows from these precepts, and presents the calligrapher with a new consciousness of his craft as art.
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Chao, Yi-ching, and 趙憶菁. "The Study of Poetry about Tours in the Wei, Jin, Southern and Northern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/45481949960032163826.
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碩士國立臺南大學
國語文學系碩士班
98
The scenery with hills, waters, rivers and plains looked like a painting, so poets wrote poems because of their interests'' being raised when they made tours in it. The poets of the Wei, Jin, Southern and Northern Dynasties followed in the footsteps of the literary arts about Book of Poetry, Chu Ci and Han Fu, and they were influenced by the politics, the thoughts and the social customs at that time, so they not only described the beauty of the natural scene but also expressed their own thoughts, affection and aspiration through the scenery when they travelled within hills and waters. Consequently, the poetry about tours got great development during the period of the Wei, Jin, Southern and Northern Dynasties. The study makes a whole investigation into the poetry about tours in the Wei, Jin, Southern and Northern Dynasties to make an enquiry into its basic features and the poets’ thoughts and spirits at that time. The dissertation is divided into five chapters, and the contexts from Chapter Two to Chapter Four are the main discusses. Chapter One explains the motivation and the purpose of the study, the category and the definition of the topic, the investigations toward the related research results of its predecessors, and the studying methods and the steps. Chapter Two penetrates into the literary development and the background of the age to trace back to the factors about the prosperity of the poetry about tours in the Wei, Jin, Southern and Northern Dynasties. Furthermore, it elaborates on the generational characteristics of the poetry about tours in accordance with the contemporary literary development. Chapter Three extensively collects the related information of the poets’ lives and their works, generalizes and analyzes the relationship between the poets’ experience of lives, their tour routes and the content of the poetry about tours, and it also generalize the different poets’ creations about tours within the same locations, explore the similarities, the differences between each other and their respective styles according to the locations presented in the poetry about tours. Chapter Four analyzes the affection and the aspiration which were presented in the content of various works, classifying and elaborating them. Chapter Five explores and analyzes the influence that the poetry about tours at this period of time had on the future world besides summing up the emphasis of each chapter as mentioned above. Making a study of the poetry about tours in the Wei, Jin, Southern and Northern Dynasties can outline the natural scenic beauty of the poets located in at this period of time, deeply comprehend their feelings of the souls and the interests for the appreciation of the beauty, and it can also reflect the social phenomenon and the psychology in the age that the poets lived in.
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Wei-YuShih and 施威宇. "The Study of the Zhang Clan in Wu Prefecture during Wei-Jin Southern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/98673932440484671241.
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碩士國立成功大學
歷史學系碩博士班
98
Aristocracies have been forming not only in the north China, but also the east of the Chang Jiang river area since the Eastern Han dynasty. As we know, there have been lots of large clans immigrating to the Chang Jiang river area and gradually becoming the influential clans since the Eastern Han dynasty. Therefore, we are going to probe the most crucial clan—the Zhang clans in Wu Prefecture. Starting from the well-established clans of the Eastern Han and Eastern Wu dynasties, the Zhang clans were blooming after immigrating to the south China. The Zhang clans were not terminated by the end of Jin dynasty, but lots of outstanding masters blooming. The Zhang clans were still shining and constructing the prospering procedure, when entering to the Southern dynasty. The Zhang clans in Wu Prefecture stand for south aristocracies. Taking them for the research of aristocracies will help us understand the Chang Jiang river area’s aristocracies. For this purpose, I endeavored to the historical records, any assorted relative documents and academic fruitful results to explore and depict the Zhang clans in Wu Prefecture’s whole appearances of developme.
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MEI-FANG, TSENG, and 曾美芳. "Social Observation of Wei and Jin Dynasties – Research of 《shì yùe xīn yù》centered." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2j7e8d.
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碩士玄奘大學
中國語文學系碩博士班
102
《shì yùe xīn yù》truly records living aspects of Wei and Jin dynasties in history. Its viewpoints and description outline out changes of social model, abundance of multi-culture and energetic vitality of this era. Though the dynasties experience the most political unrest in China, the performance of thoughts and arts are everlasting after thousands of years. The thesis is observation of politics, economy, marriage, education, society, and culture of this period through 《shì yùe xīn yù》. The author aims at the literature review and discussion, and expects to reflect social manners in Wei and Jin dynasties. This paper is divided into six chapters. The opening chapter is the introduction. The background and content features of 《shì yùe xīn yù》are analyzed in chapter Ⅱ, and then the readers would have a better knowledge of this book . At that time, the Aristocracy, talking Metaphysics, is not good at ruling, Manor economy is prevalent and the luxury fashion becomes economic phenomena. Above all are explored in chapter Ⅲ. In chapter Ⅳ, there are analyses of changing roles of women and social values of criticism-directed in Wei and Jin dynasties so as to understand that the academic status and social values are not always invariable. Marital viewpoints of women who transform after breaking the tradition and baptized with multiculturalism are discussed in chapter V. In order to maintain social status, the aristocracy not only gives the opportunity of multi-education development, but also promotes conspicuous achievement of humanities. Furthermore, the decline of Confucianism and shifts of esthetic conception are doomed to macroculture animated. Finally, the research results are reorganized and concluded in chapter VI.
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Chen, Shih Yun, and 陳世昀. "Destiny Narration in the Zhiguai Fictions of Wei, Jin and Northern and Southern Dynasties." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/x3q79z.
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Tsai, Chin-Chang, and 蔡金昌. "A Study of The Theory about Human-Nature in Wei,Jin Northern and Southern Dynasties." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/36810130018855975396.
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博士國立中興大學
中國文學系所
101
China Ideology History has different kind of status just like Wei-Jin Northern and Southern Dynasties. It carried on the Xian-Qin period and created a new Sui-Tang era. This became one of the most important history moment in China. Now people even paid a lot of attention to Metaphysics but Buddhism and Taoism were built their own theories and mind-thinking at the same time. They had development progressing. The issue of Human-Nature started to become a main discussion among the thinkers. After developing and growing of Liang-Han (Gasification) and Wei-Jin (Ontological) theories, it was slowly moved to Human-Nature thinking with heart of understanding. This also turned into basic knowledge of Sui-Tang and Song-Ming Human-Nature in minded. First, this thesis is trying to make a research about Xian-Qing Human-Nature at the beginning. Then, figures out the ways of deciding the main topic of China Human-Nature theories. On the other hand, the writer will start to talk about Gasification of Liang-Han and then continue with the matters of Metaphysics such as some people liked to advocate the process of nothing, everything until the virtual. This can view the evolvement situation of traditional Human-Nature thinking. Besides, Buddhism in Wei-Jin Northern and Southern Dynasties tried to develop Buddha''s thinking through the knowledge of Wisdom, Nirvana and Yoga-movement. Taoism also followed the trend and became one of the main mental thinking. The range of China Human-Nature became bigger. At the observation of saint, the only traditional way of those people which had to equip their morality was started to breakthrough. The highest of ideal and value personality were not only just limited with the fulfilled morality in the reality or started to realize to become a buddha and grow a juicy fruit to transcend the Human-Nature traditional thinking of the saint structure. The basic identity of saint was to show his morality without the reflection of Buddhism and Taoism. It made the meaning of Human-Nature become deeper. The point of view and explanation all gathered the traditional system of Gasification, the build-up of Ontological and the importance of heart within understanding. Everyone started to follow their mind and proved that the Human-Nature in Wei-Jin Northern and Southern Dynasties inherited and changed the traditional theories before. This was a main characteristic which brought the special meaning to the development of China Human-Nature History.
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Cheng, Su Fen, and 程淑芬. "The decorative patterns on Buddhism stone tablet in the Wei-Jin, Southern and Northern Dynasties." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/47015147450746038521.
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碩士華梵大學
東方人文思想研究所
101
The Buddhism stone tablet belongs to one type of religion dissemination. We can know Buddhist art culture affected by politics, nationality, culture, community from Buddhism stone tablet research. When Buddhism was introduced to China in the Wei-Jin and the Northern and Southern Dynasties (220-589). Buddhism organization developed rapidly. Buddhist monks increased over eighty thousand peoples and over five hundred temples in the capital in Southern Dynasties of Liang Dynasty (502-557). Emperors of the Northern Dynasties (386-581) were conveyed the Buddha's teachings and used the religion as a system for unifying their rule, built stone grottoes, Buddhism statues and tower. The mass production of artistic value in Buddhism stone inscriptions and wall Paintings The Buddhism stone tablet often decorated many kinds of patterns, such as human figures, flowers, birds, animals, Buddha, geometric schemes and others of pattern. Some decorative patterns of Buddhism, originated from India and spread eastward through ancient Silk Road of China, has been selected and improved by Chinese native culture. We can find pattern design and composition of decorative patterns have regularity from assorts or arrange in Buddha and decorative patterns. It takes on development of history and the pluralistic feature of Buddhist art. The research emphasis is choosing from decorative patterns on Buddhism stone tablet of having feasibility research. The areas of research limit in the Wei-Jin and the Northern and Southern Dynasties (220-589), with develop rapidly of Buddhism. Searching, coordinating and analyzing of rich literature to do research of decorative patterns on Buddhism stone tablet, with characteristic and influence upon later generations. The major findings of this study are: (1) The decorative patterns of India and Western Regions were changed greatly by Chinese native culture. (2) The decorative patterns of India combination of Chinese thought and traditional decorative patterns. (3) Affected by style of traditional Chinese painting. (4) Causes of the prosperity of the rulers esteemed and society organizations high on Buddha statue activities. VI (5) Due to differences in Chinese Buddhism beliefs can produce differences Buddha statue and decorative patterns. (6) The decorative patterns are confined in standard of Buddhist sutra. (7) Make good use of cape corner patterns to fill in triangle side of Buddhism stone tablet. (8) Some of decorative patterns are no longer used and gradual change in style. (9) The Buddhism stone tablet art in the Wei-Jin and the Northern and Southern Dynasties become to the major history of Chinese art. (10) To provide the creation and plenty foundation for later dynasty of decorative patterns on Buddhism stone tablet.
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Jing-TingShiu and 徐靖婷. "Research on Aesthetics about advocating “purity” by learned celebrities in the Wei and Jin dynasties." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/60449958059952771336.
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黃秋勝. "A stydy of views on loyalty and filial piety in the Wei and Jin dynasties." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/51392120817801720609.
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HO, JUNG-CHUN, and 何榮俊. "The study of family in Wei-Jin and Southern Dynasties-a case of LuJiang QianXian He." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/62528227610077236739.
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碩士國立成功大學
歷史學系碩博士班
98
The study of family history is a popular topic in Wei-Jin and Southern-Northern Dynasties.As we know,those people become a big family according to their extension of “culture” and help during the family.So that they maintain family at chaos. Because more Epitaph is discovered and different opinions are mentioned recently,let the research of family history have a lot of achievement. The He family in LuJiang QianXian廬江灊縣is one of the important families in Wei-Jin and Southern Dynasties. The first important man is He Zhen何楨 in Wei-Jin Dynasties.Though he isn’t upper class in all families ,he got emperor’s trust by his ability and marriage with big families. For example He Chong何充in East- Jin Dynasties, and he is an important mediator during Yu 庾氏and Wang王氏. Hes Hang Zhi何尚之and He yan何偃have great influence in Liu-Song Dynasties. He Jing Rong 何敬容 in Liang Dynasties has superior administration ability. As a result of those deeds,the family have leading position in Wei-Jin and Southern Dynasties ,Especially on the powerunder low-ranking people after Liu-Song Dynasties. Except for emperor’s trust,the culture of family are rich.For example,the ceremony discussion of He Qi何琦in East-Jin Dynasties,and He Tong Zhi 何佟之in Liang Dynasties. And they interested in Buddhism,such as Eight Precept八關齋,donate house to the monk,interaction between the monk. No matter what ceremony or Buddhism,not only the culture of family extension but also one of the important interaction way between people. Of course, some family people are withdrawing from society and live in solitude,as He Yin何胤,He Qiu何求,He Dian何點. The whole He family appear image what include Buddhism,Confucianism and Neo-Daoism.They have an important position in Wei-Jin and Southern Dynasties.After Hou-Jing Riot侯景之亂,the family lost their energy.So that He Zhi Yuan何之元 in Chen Dynasties,he has a vagrant life.He write Liang Dian梁典to express his feeling of the present. This is tragedy of the time. The family can not take responsibility themselves. Therefore,I hope for depicting the development of LuJiang QianXian He family,suppling the research of family in Southern Dynasties with opinion .I am twenty-four generations in Kinmen LuJiang He family,and I can trace to my family source for myself too.
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陳炎墀. "A study on the music of Chinese’s ballard : from the Wei Jin dynasties and the Southern and Northern dynasties and the Ming dynasty." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/qgqttf.
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CHING-I, WU, and 吳靜怡. "A Study of “Sheng” and “Gu” in Aesthetic Criticism of the Wei, Jin, Southern and Northern Dynasties." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/37169921094670314918.
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碩士國立彰化師範大學
國文學系
97
With a unique style in Chinese history, Wei, Jin, Southern and Northern Dynasties marks a marvelous milestone in Chinese aesthetics. The aesthetic developments in this era give a new coloring to painting, calligraphy, music and literature. The aesthetic terms developed in this era are often seen in the critical works of painting, calligraphy, music and literature. Take sheng (spirit) and gu (bone) for example. In the artistic critical works, these two terms are frequently used by the critics as critical terms in evaluating works and authors or as the terms of critical objects in discussing creations. How did this unique aesthetic thoughts of China form—transferring these words (sheng and gu) into aesthetic terms? With an attempt to come to a fuller realization of “sheng” and “gu,” this study aims to explore the thinking sources of these two terms and the process of the transferring development. In the aesthetic experiences, the abstract experiences of aesthetic perception, through descriptive and critical languages, are obtained from the descriptions of multiple aspects. Then, through numerous evaluations, the terms coming from these experiences are synthesized as the common images of aesthetic evaluation. This study names these terms with aesthetic senses as “aesthetic terms.” With the popular trend of character evaluation in Wei and Jin Dynasties, the terms of “sheng” and “gu,” in addition to be seen in character evaluation, also appear in the evaluation of artistic creation activities quite often. This study also attempts to discuss how the critics of that time apply “sheng” and “gu,” how these two terms are utilized from the evaluation of characters to the one of artistic and literary creation. This study contains an analysis of the conception of “sheng” and “gu” in the Wei, Jin, Southern and Northern Dynasties as well as those in Confucian and Daoist creations of Chin and Han Dynasties; an exploration of “sheng” and “gu” in 〈A New Interpretation of Old Sayings〉; the conception of these two terms in painting theory, calligraphy theory, musical theories and literature theory; an understanding of the aesthetic in the Wei, Jin, Southern and Northern Dynasties through the application of “sheng” and “gu;” a research on the aesthetic values of “sheng” and “gu.” At last, this study discusses the process of transferring the concepts of “sheng” and “gu” in daily use into artistic and literary aesthetic terms, the compatibility in different kinds of artistic and literary activities, the relations between the term of “sheng” and “gu,” and some issues of the development of musical theory in the Wei, Jin, Southern and Northern Dynasties.
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Shin-YauHuang and 黃昕瑤. "The Famous Scholars’s Concepts of Friendships in Wei and Jin Dynasties : Research on the Principle of Friendship." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/23928073666348801371.
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碩士國立成功大學
中國文學系碩博士班
98
This paper comprises six chapters: 1.Illustrating problematics, research methods and purpose of the present study. 2.Discussing the backgrounds of Wei Jin famous scholars’s friendship concepts. 3.Setting the model of the friendship types in Wei Jin. 4.Discussing the ingredients of Wei Jin famous scholars’s friendship concepts. 5.Discussing the famous scholars in Wei Jin how to practice their friendship concepts. 6.Conclusion. PLEASE REFER TO THE CHINESE ABSTRCT FOR DETAILS .
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Li-ChuanChiang and 蔣麗娟. "The Study of the Yang Clan in Tai Shan Prefecture during Wei-Jin and South ＆ North Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/61265859100913914656.
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碩士國立成功大學
歷史學系碩博士班
98
The Yang family of Tai Shan has been rising since Eastern Han Dynasty. The family is not only a big family in high-ranking people but also celebrities with outstanding achievements in politics. In the late Han Dynasty and early Wei Dynasty, the Yang family have married to the Cao Wei Royalty and the Si Ma family, so the Yang family is more powerful. In addition, the Yang family is at the core of the political center. Meanwhile, owing to the great performance of Yang Hu and Yang Xiu, the influence on the politics is getting strong. However, their power is declining or account of the political struggle and the Chaos of Yang Jia even though the family has moved to the south with Jin Royalty. Nevertheless, the Yang family is good intellectuals and is good at political strategy, so they can still survive or even make good use of opportunities to be officials. But sometimes they can’t help maintaining a low profile to make the family develop in the Eastern period. After Southern-Northern Dynasties, it’s a time when political authorities after a lot and some of the family are dispersed because of war; therefore, the family is divided and separate, developing on their own. Because the connection is not as strong as the former dynasty, the influence of the family is decreasing as well. On the whole, the northern Yang family is skilled at the military and adventures while the Yang family in the south is well-performed in politics and academic achievements. It’s a pity that the south Yang family’s power is declining drastically after the Chaos of Hou Jing and they are no longer recorded in history. Though the Yang family in the north is quite influential for a time, they have been few men doing well since Northern Chou. Therefore, the Yang family is getting weak in Sui Dynasty. After Tang Dynasty, they are heard no more. In the thesis, I try to prove the origin of the Yang family is Tai Shan first. Then, I try to prove the family’s rising and the development in the Eastern Han Dynasty. With the analysis of the family’s fields in politics, culture and economics, I can depict the features of the family to realize their political status in Wei Jin Period and to find out the reasons for their decline in Southern-Northern Dynasties.
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Wang, An-Tai, and 王安泰. "Recreating Feng-jian：A Study of Noble Title and Political Order in Wei, Jin, Northern and Southern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/67250664736358439649.
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CHING, HUANG SHU, and 黃淑靜. "Analysis of the Chinese painting about Morphe - Psyche Theory during Wei, Jin and Southern and Northern Dynasties." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/61989014069786321648.
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碩士中國文化大學
哲學研究所
96
Chinese painting showed in special type and mode is one of outstanding features in Chinese painting history. In addition to materials and technique, Morphe - Psyche Theory gradually had expanded since Han dynasty and led the style of the Chinese painting. Consequently, aesthetics in Wei, Jin dynasty held the important place in the Chinese aesthetics development history. The major task of the dissertation is to analyze aesthetics in Wei, Jin dynasty. The reason is that in Wei, Jin dynasty people had their independent and high sense about human value. We would expect to dig out the worthful information and understand the relation between morphe-psyche theory and object, subject problem from internal and external development factors. In the dissertation our main discussion focus on Chinese painting. Particular attention has been given to provision of thinking development about aesthetics in Wei, Jin dynasty through Chinese painting history and actual value between Morphe - Psyche Theory and aesthetics.
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Su, Mei-Ju, and 蘇美如. "A Study of Unusual Women Motive in The Wei-Jin Nan-Bei Dynasties'' Zhi Guai." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/38044411841310147698.
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Chen, Ching-Kuen, and 陳慶坤. "Understanding Modern Environmental Aesthetics through the “View on Natural Scenery” of Wei Jin Period and the Six Dynasties." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/18690339742303000004.
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博士國立中央大學
哲學研究所
102
The industrial advancement in the twentieth century brought mankind unprecedented happiness and opened up a bright future for the development of human beings. However, with the rapid development in industrialization of countries around the world, natural resources were plundered madly, leading to constant deterioration of environmental quality as well as ecological crises. These not only brought unprecedented impacts on our environment but also directly affected our quality of life and survival. Mankind pursuing economic growth madly began to realize the severity of environmental problems. From the context of such global development, the issue of ecological environment in Taiwan is also lost in the utilitarianism-based economic growth. It is said that the economy is being promoted but, in fact, the land and environment we rely on for survival are being mutilated. If we continue such behavior, not reconsidering the ethics and conscience toward this land and the responsibilities in conserving the ecological environment, and if we do not look back and think matters through humbly, we would be allowing ourselves to be mired in the “trap of progression” with the advancement of civilization and material. From the aspect of evolutionism, the natural environment can help man development behavioral actions for adapting to the environment, which create cultural patterns helpful to survival through interaction with the environment. Thus, although the core problem of environmental aesthetics is the issue of appreciation for “natural beauty”, the aesthetic for the overall harmony of the nature is conveyed because the natural environment has its aesthetic value. From the view of environmental ethics, the purposes for man to establish an overall harmonized relation with nature include: (1) develop a sense of appreciation toward nature based on the theory of environmental aesthetics; (2) induce through this appreciation model the origin of the relation between aesthetics and ethics in order to determine the basis of aesthetic medium for environmental ethics and environmental aesthetics. Regarding this issue, domestic and foreign aesthetics researchers not only hope to establish a scientific knowledge similar to the knowledge on western aesthetics, but also seek a research method which suits eastern classic aesthetics. In other words, they seek the “beauty of nature” in both eastern and western cultures. The long history of aesthetic appreciation of nature in China gave rise to the unique aesthetic feelings and expressions of landscape poetry and painting. Such aesthetic consciousness and western aesthetics were developed afterwards and are different from environmental aesthetics which adopts art aesthetics as the model of nature appreciation. Chinese aesthetic consciousness of natural beauty is that man striding toward nature as nature can embody the infinite vigorous vitality of the universe better than man. Nature appreciation contains the subject of art creation and the inspiration of natural scenery interaction, achieving the aesthetic prospect of object and subject as one, as well as the concept of mental interaction between object and subject. Therefore, this study attempts to understand the western aesthetic model toward the natural environment through the “views on natural scenery” from Wei Jin Period and the Six Dynasties to supplement to the insufficient part of descriptions. This study obviously bears a certain mission in our interaction with the social environment, and this is exactly the righteousness and argumentation of environmental ethics.
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shih-chieh, Liu, and 劉世頡. "The Situation of Military Strategy and Diplomatic Relation between Northeast Asia and Wei, Jin, Southern & Northern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/87500033127938276779.
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黃子瑜. "The introduction and influence of the Buddhist medical concept in the Han, Wei, Jin, Southern and Northern Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/56712629429464581120.
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WANG, JIA-LING, and 王家泠. "From Neo-Taoiam to Neo-Confucianism: The commentaries on the Analects in Wei, Jin, Tang and Song Dynasties." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/59223420261005122035.
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Jau-ShinRen and 任昭信. "The Development of The Exiles From the East Jin Dynasty and the South Dynasties In the North Wei Dynasty." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/67524874706434288532.
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碩士國立成功大學
歷史學系碩博士班
98
英文摘要 The Eastern Jin Dynasty and Southern Dynasties exiles is a particular political group in Northern Wei government. Them exile to the north because the political power changes, the struggle for power, or the war to plunder and so on.after that,they began a development under the regime of the Northern Wei, who also had a significant impact and contribution on the Northern Wei. This article chapter one is an introduction. The second chapter focuesed on the attitude of the Northern Wei treats on Eastern Jin Dynasty and Southern Dynasty exiles,to clarify the context of their attitude change rely on Northern Wei government allied policies. With the "Southern Man not charged with the military(南人不宜委以師旅之任)" and "Southern exiles are interred at Sanggan(南人入國者皆葬桑乾) " with the two defensive precautious policies breake down, May explain that the tendency which under Northern Wei Dynasty political power the Eastern Jin Dynasty Southern Dynasty people-in-exile develops the situation which has liberates gradually. The third chapter is discuss about the Northern Wei Dynasty earlier period(386-470), The Eastern Jin Dynasty and Southern Dynasties exiles in the political and military aspects of the development processes. The fourth chapter is discuss about the Northern Wei Dynasty later period(470-534), The Eastern Jin Dynasty and Southern Dynasties exiles in the political and military aspects of the development processes.The two chapter classificate the Eastern Jin Dynasty and Southern Dynasties exiles in different status. This is because they arrived at the beginning of the Northern Wei regime, Northern Wei regime will have a different status because of their attitude and treatment obviously. Nevertheless, This is for their future development in the Northern Wei regime has to a certain extent. Since the late Eastern Jin Dynasty, The south exiles exile into Northern Wei continually, In the 148 years of the Northern Wei, Such situation occurs continually. However, from the late Northern Wei and the comparison between early, it can be found in the late Northern Wei Dynasty,the exiles in the development of significantly active in the early Northern Wei. The Eastern Jin Dynasty and Southern Dynasties exiles are in the development and fluctuations, and the attitude of the Northern Wei regime has a very close relationship. However, up to 148-year history of the Northern Wei, the Eastern Jin and Southern Dynasties exiles in the development of the Northern Wei regime's response to the attitude has undergone many ups and downs and changes,so many that it is impossible to generalize, it has also had considerable limitations.
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李啟文. "A study of the water conservancy during the period of the Wei, Jin and the Southem and Northerm dynasties." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/nr4d3g.
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