To see the other types of publications on this topic, follow the link: Han Dynasty (China).
Journal articles on the topic 'Han Dynasty (China)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Han Dynasty (China).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
de Crespigny, Rafe, and Miranda Brown. "Adoption in Han China." Journal of the Economic and Social History of the Orient 52, no. 2 (2009): 229–66. http://dx.doi.org/10.1163/156852009x434346.
Full textAbstract:
AbstractWe investigate surviving legal statutes regarding inheritance and descriptions of adoption from the Han dynasty (206 BCE-220 CE), asking to what extent there was consensus among the literate elite about the rules for adoption. We argue that, in contrast to later periods, there is little evidence for the existence of any single set of classical prescriptions. Instead, the Han ruling elite had at their disposal a variety of legitimate strategies for deciding whether to and how to incorporate outsiders into the household. Such strategies involved different parties, contrasting principles, and diverging rationales. Nous examinons les statuts juridiques qui portent sur les successions, aussi bien que les descriptions d'adoption, avec le but d'établir jusqu'à quelle mesure il existait pendant la dynastie Han (206 av. J.-C.-220 ap. J.-C.) un consensus sur des règles d'adoption auprès des élites lettrées. On soutient, qu'à la différence des périodes ultérieures, on ne trouve peu de trace d'un ensemble unique de préscriptions classiques. Les élites de l'époque Han disposaient d'une variété de stratégies différentes pour décider si et de quelle façon ils pouvaient intégrer des étrangers dans la famille. De telles stratégies suivaient des règles et des systèmes de logiques plutôt divergents.
2
Wang, Ruorui. "The Thought of Governing Country and Employing People in the Period of Emperor Wu of Han." Transactions on Social Science, Education and Humanities Research 6 (March 22, 2024): 44–49. http://dx.doi.org/10.62051/xzr2m512.
Full textAbstract:
The Han Dynasty is of great significance to the process of the unification of China, and the system of the Han Dynasty also laid the foundation for the political system of China for more than 1,000 years. Among them, Emperor Wu was the key figure in the transition of the Han Dynasty system. Scholars generally summarize the ruling thought of Emperor Wu of Han Dynasty as external Confucianism and internal law, which is not accurate. From the analysis of the selection and appointment of the imperial officials in the Emperor Wu's dynasty, we can find that Emperor Wu's governance and employment strategy are based on his own will, which reflects strong functionalism and totalitarianism. Confucianism, as the mainstream thought advertised at that time, was more of a decoration.
3
Zhong, H., and M. A. Hann. "Textile Production in China between the Han Dynasty and the Tang Dynasty." Journal of the Textile Institute 82, no. 1 (January 1991): 18–23. http://dx.doi.org/10.1080/00405009108658733.
Full text
4
Qiu, Mubing. "Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 19–28. http://dx.doi.org/10.36340/2071-6818-2022-18-4-19-28.
Full textAbstract:
The unification of China under the rule of the Han Dynasty and the subsequent prosperity of the state inevitably led to a sharp increase in the production of gold and silver items. The emperors of the Western Han Dynasty often rewarded officials who had served with gold to the extent that cast gold discs and gold bars were included in circulation. Looking at the gold and silver items that archaeologists find in the tombs of the Han period makes one see the superiority of utensils in this era over the items of previous periods both in quantity and in their typology, and possibly in terms of manufacturing complexity. Having become an independent craft, separate from traditional bronze casting, it strongly influenced the art of subsequent Chinese dynasties. Gilding technologies appeared in China as early as the early Zhanguo period. This highly commendable art used in the decoration of bronze, which was densely covered with gold, reached its maturity in the pre-Qin period and gained popularity during the Han Dynasty. Most importantly, in the Han Dynasty, the fine art of decorating with silver and gold reached a new, higher level and, no longer being part of the bronze casting craft, received independent development. Silver utensils of the Han period are found evenly throughout the territory of modern China. Silver caskets, funnel-shaped vessels and many ornaments were found in the tombs of the Jing king, Liu Sheng, in Zhongshan, the Huai king, Liu Xiu, and the Mu king, Liu Chan, in the same city district. Gold and silver vessels are evidence of the development of the art of working with gold and silver. Silver and gold vessels that archaeologists find in the graves of the highest tribal nobility of the Han Dynasty not only speak of the high level of this industry in the Han Dynasty but also testify to a unique culture and help us better understand the society of this time.
5
Bao, David. "The Evolution, Characteristics, and Aesthetic Expression of Han Dynasty Sculptures: Exploring the Artistic Achievements of Ancient China." Advances in Education, Humanities and Social Science Research 6, no. 1 (July 7, 2023): 299. http://dx.doi.org/10.56028/aehssr.6.1.299.2023.
Full textAbstract:
This study explores the development, traits, methods, and philosophies of Han sculptural works throughout Chinese history. Han dynasty sculptures are exceptional works of art due to their unusual ceramic figurines, stone creature sculptures, and pictorial stone designs. The article explores the evolution of art across time, centering on the Han dynasty and its emphasis on functional sculptures. Cultural influences such as the mixing of Chu and Western Region art via the Silk Road are discussed how they influenced Han Dynasty sculptures. The study also explores the stories told via the sculptures of the Han era, focusing on themes of life, myth, and masculinity. With an emphasis on stone carving and a wide range of expressive methods, this article examines the creative expressions and aesthetic principles at work in sculptures from the Han Dynasty. The relevance of sculptures from the Han Dynasty to the evolution of ancient Chinese art is discussed, with examples highlighting the sculptures' dynamic life and creative quality.
6
Han, Liu, and Yang Cui. "The application of virtual reality technology in museum exhibition ——Take the Han Dynasty Haihunhou Ruins Museum in Nanchang as an example." E3S Web of Conferences 236 (2021): 04045. http://dx.doi.org/10.1051/e3sconf/202123604045.
Full textAbstract:
The opening of the Haihunhou Relics Museum of The Han Dynasty in Nanchang showcases the largest, best-preserved and most abundant legal-marquis tombs of the Han Dynasty discovered in China, and exhibits the historical sites and precious cultural relics of the Han Dynasty in an undamaged manner. The tomb of Haihunhou reflects the splendid civilization of an era, which is of great significance to the study of Chinese politics, economy and culture in han Dynasty. The display of the Han Dynasty Haihunhou Ruins Museum in Nanchang also represents the display level of today's China. Nowadays, people are more and more interested in and want to visit ancient relics. However, it is difficult for traditional museums to display ancient relics and visitors cannot understand the historical stories behind them. With the development of contemporary science and technology and virtual reality technology, museum exhibits more tends to digital, intelligent technology, through the cultural relics of the display of virtual reality technology, brings to the sea faint principality of nanchang han dynasty ruins museum different presentation, more fully play of the museum's education value and historical responsibility.
7
Wang, Lian. "Study on the Aesthetic Imagery of Bronze Lamps in the Han Dynasty in China." Highlights in Art and Design 3, no. 1 (May 31, 2023): 83–86. http://dx.doi.org/10.54097/hiaad.v3i1.9357.
Full textAbstract:
The Han Dynasty existed in Chinese history for more than 400 years, reaching unprecedented heights in politics, economy, and culture. This article is aimed at the animal lamps with special shapes in the bronze lamps of the Han Dynasty in my country and researches the aesthetic image characteristics of works of art. The main research content of this article is the selectivity, subjectivity, and originality in aesthetic imagery, combined with the detailed analysis of the bronze lamps preserved in the Han Dynasty, to explore the content of aesthetic imagery in the shape and function of ancient bronze lamps, hoping to play a role for future researchers—a certain reference.
8
Jang, Kyoung-A. "An Analysis of ‘Hangje’ Cases Through the Perspectives of Epitaphs and Genealogy －Focusing on the Anyang Han Clan of the Song China－." Korean Society of Human and Nature 5, no. 1 (June 30, 2024): 261–74. http://dx.doi.org/10.54913/hn.2024.5.1.261.
Full textAbstract:
This paper analyzes the “Hangje” of the Anyang Han clan during the Song Dynasty based on an initial case study of the Tang Dynasty’s Nak-An Sohn clan. By analyzing Han Qi’s The Literary Collection of Anyang, the recently excavated epitaphs of the Anyang Han clan, and The Genealogy of Xiaoshan Yidu Han Family Clan, it was possible to reconstruct the specific appearance of the “Hangje.” As a result, it was revealed that the generational ranks were assigned based on birth order of each male member, including cousins of the same generation among the extended family members within the Song Dynasty’s Anyang Han clan. This is a similar result to the research previously conducted by the author regarding the Nak-An Sohn clan of the Tang Dynasty. Despite a time gap of about 200 years between the Nak-An Sohn clan of the Tang Dynasty and the Anyang Han clan of the Song Dynasty in Chinese history, both clans are believed to have maintained a hierarchical system, known as “Hangje,” based on the birth order of family members, thereby suggesting a continued tradition of establishing generational ranks to preserve familial order among descendants sharing a common ancestor. In Imperial China, in order to establish the hierarchical order within the same clan, Chinese families adopted the practice of giving family members the names that included a common Chinese character for those of the same generation. Furthermore, each member was assigned a generational rank (行第: Hangje) to further distinguish the order within the family. This family-centric hierarchical structure likely played a crucial role in defining roles and responsibilities within the family, fostering harmony among its members, and contributing to the maintenance of social order.
9
McLeod, Alexus. "Philosophy in Eastern Han Dynasty China (25-220 CE)." Philosophy Compass 10, no. 6 (June 2015): 355–68. http://dx.doi.org/10.1111/phc3.12209.
Full text
10
Jin, Xin. "On the image language of music and dance in the graphic seal of the Han Dynasty." Advances in Education, Humanities and Social Science Research 1, no. 1 (May 9, 2022): 335. http://dx.doi.org/10.56028/aehssr.1.1.335.
Full textAbstract:
Among the graphic seals of the Han Dynasty in China, one kind is to express the image content of music and dance in the Han Dynasty, which is mostly combined with image languages such as song, dance and music, forming an organic overall image in the seal.In this paper, these seal images are summarized as four music and dance image languages of the Han Dynasty, such as "Accompanied by Guqin and harps", "‘Sheng’and‘Yu’similar", "Dancing sleeve dance up" and "Drunk percussion ‘Zhu’ ", which can not only provide us with a certain image reference for studying the music and dance of the Han Dynasty, but also reflect the real life of the people of the Han Dynasty on the other hand,It is also a comprehensive aesthetic embodiment of the image seal of music and dance integrating dance and performance.
11
Zhaoming, Xiong. "The Hepu Han tombs and the maritime Silk Road of the Han Dynasty." Antiquity 88, no. 342 (December 2014): 1229–43. http://dx.doi.org/10.1017/s0003598x0011542x.
Full textAbstract:
The extensive cemetery at Hepu in southern China represents one of the best-preserved tomb complexes of the Han period. It contains many elaborate tombs with exotic luxury materials that testify to the status of Hepu as the home port of the maritime Silk Road. This trading network carried Chinese products (notably silks) by sea to kingdoms and communities of South and Southeast Asia, and was the southern counterpart to the more famous overland Silk Road through Central Asia. The materials found in the Hepu tombs demonstrate the range and geography of contacts, including semi-precious beads from India and ceramics from the Parthian empire. This far-flung trade network had major impacts both on southern China and on the other regions that it connected.
12
지정민. "The Teacher Recruitment Examination in the Traditional China : From Han Dynasty to Sung Dynasty." History of Korean Education 29, no. 2 (October 2007): 211–30. http://dx.doi.org/10.15704/kjhe.29.2.200710.211.
Full text
13
Xu, Minzhe. "The Collapse of the Han Empire on the Impact of Daoism." Journal of Education, Humanities and Social Sciences 12 (April 19, 2023): 272–78. http://dx.doi.org/10.54097/ehss.v12i.7651.
Full textAbstract:
Daoist School has exerted a great influence on shaping Chinese history. However, Daoism did not really appear in China until more than 600 years after the birth of the Daoist School. The special cultural and political shaping of the Eastern Han dynasty led to the transformation of Daoism from a pure idea to a more practical theory. The Han Empire had an elaborate and massive bureaucratic system that ensured that imperial power was concentrated in the hands of the emperor and his trusted ministers. At the end of the Eastern Han dynasty, the government could not maintain a costly bureaucratic system due to the plague, famine, and financial crises. Daoism gained unprecedented freedom to preach. This paper analyzes the late Han dynasty’s unique social and political background through historical materials. Comparing the attitudes of different Daoist tribes towards the government concludes that the true foothold of Daoism in China must be an alliance with aristocrats. At the same time, Daoism has assumed the corresponding social responsibility and gained more people’s trust. However, when Daoist power grew to a certain size, it inevitably attracted the attention of the empire. Different sects have chosen different paths to develop. The Taiping Dao underestimated the empire’s military power, which soon led to its own destruction. The Heavenly Master avoided direct conflict with the empire and achieved their religious and political goals by uniting with local forces when the empire was on its way to destruction.
14
Ing, Michael D. K. "Philosophy in Western Han Dynasty China (206 BCE-9 CE)." Philosophy Compass 11, no. 6 (June 2016): 289–304. http://dx.doi.org/10.1111/phc3.12326.
Full text
15
Csikszentmihalyia, Mark. "Fivefold Virtue: Reformulating Mencian Moral Psychology in Han Dynasty China." Religion 28, no. 1 (January 1998): 77–89. http://dx.doi.org/10.1006/reli.1997.0080.
Full text
16
Surayeva, N. G. "FROM THE HISTORY OF THE FORMATION OF THE IMPERIAL ACADEMY OF PAINTING IN CHINA." Arts education and science 1, no. 3 (2021): 83–93. http://dx.doi.org/10.36871/hon.202103011.
Full textAbstract:
Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.
17
Mubing, Qiu. "Statues of Warriors and War Horses of the Han Dynasty." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 63–81. http://dx.doi.org/10.36340/2071-6818-2019-15-4-63-81.
Full textAbstract:
Terracotta statues of warriors and war horses represent a type of sculpture from ancient burials. They are an important part of the system of objects buried together with the deceased during the Han dynasty (the so-called Mintsi). Yun, the most characteristic funeral figurines which archaeologists find especially in the region of the Chu kingdom of the pre-Qin period, began to appear during the Chunqiu and the Warring States periods. The burial of statues of soldiers together with the deceased carried an authentic meaning connected with the burial of living warriors during the Shang dynasty. Terracotta statues of warriors and war horses in the tomb of Qin Shi Huang were completed in a very short time and mainly reproduced the figures of people and soldiers on high alert before the start of a military campaign. Despite the fact that the Han Dynasty succeeded the Qin Dynasty in the administrative system, it also drew some lessons, to varying degrees, regarding martial arts, as evidenced by the location combinations of the terracotta statues and horses. In 1965, a large burial place of the ancestor of Liu Bang, the first emperor of the Han dynasty, was discovered in the Shaanxi province north of Xianyang in Yangjiawan village. In history, it was known as Zhoushitsuy or Mound of Zhou Ancestors. The size and Ill. 1. National architectural monument. Han Dynasty. Mausoleum Han Yang Ling. Ill. 2. Grave pits in the Hanyangling Museum depth of the pits are not the same, the number of ceramic statues found is also various and of different shapes and sizes; however, most of the statues have a bright colour and a perfectly regular shape. These excavations of the Han terracotta statues have historical significance due to the fact that this is the first finding of terracotta statues of the Han period since the founding of New China.
18
Zhao, Lina, and De Zheng. "Re-Exploring Origins of the Qixiang Sacrificial Rite Practiced by the Han Army Eight Banners in Northeast China." Religions 14, no. 2 (February 1, 2023): 195. http://dx.doi.org/10.3390/rel14020195.
Full textAbstract:
Qixiang is a unique sacrificial culture created by the Han army eight banners in northeast China. This culture not only has elements such as shamanism and Han people burning incense, but also has military sacrificial elements. This paper argues that Qixiang is the evolution and legacy of Maji, a military sacrificial ritual in ancient China. The Han military banner people in the Qing Dynasty took Maji as the main body, combined the Manchu Shamanism with the Han incense burning, and created a cultural symbol representing their own ethnic group. At present, the study of Qixiang not only helps to understand the complexity of the development and evolution of Manchu shamanism, but also helps to reveal the ethnic identity of Han bannermen under the Eight Banners system of the Qing Dynasty.
19
Kvapil, Ondřej. "Sacral and divine kingship in Seleucid Empire and Western Han." Graeco-Latina Brunensia, no. 2 (2023): 123–38. http://dx.doi.org/10.5817/glb2023-2-8.
Full textAbstract:
This article aims to compare sacral and divine aspects of rulership in ancient China during Western Han dynasty and in the ancient Seleucid empire, with a focus on the divine origin of rulers, rulers as the chief priests, rulers as gods, and divine legitimacy. The cultural evolution involving ideas about the sacral role of rulers and their divinity will be presented, from ancient Macedonia to Seleucid empire and from Shang and Zhou dynasties through the Warring States period and Qin dynasty to the state of Western Han. The article aims to explore the above-mentioned aspects of sacral kingship to find out what forms these aspects took in both respective empires. The article aims particularly at the participation of rulers in local cults, the differences between ruler cults, celestial gods as the supreme authority, and gods connected with conquest and territory in order to contextualize our views of both Seleucid and Western Han empires, and by proxy the views on ancient China and ancient Hellenistic states.
20
Jiang, Zongyan. "Research on the Levirate Marriage for the Han Chinese during Yuan Dynasty." Asian Social Science 15, no. 8 (July 29, 2019): 104. http://dx.doi.org/10.5539/ass.v15n8p104.
Full textAbstract:
The levirate marriage has been continued for thousands of years in the ancient time of China until after the People's Republic when it died out. In Yuan Dynasty, the levirate marriage was gradually ascended to state law from national habits; its position was so important that it was considered as the customs of the country, later it gradually moved towards collapse. The variation of laws as well as regulations for the levirate marriage reflect the process of which the two cultures of the Mongolian people and Han people blended continuously. Starting from the research on the policy of the levirate marriage for the Han Chinese, this article explores for the jurisdiction and control of rulers in Yuan Dynasty for the Han Chinese to disclose the ideological features of laws in Yuan Dynasty, which explore for the conflict and coordination of law culture in grassland of the law culture in central plains.
21
Guo, Qinghua. "Tomb Architecture of Dynastic China: Old and New Questions." Architectural History 47 (2004): 1–24. http://dx.doi.org/10.1017/s0066622x00001672.
Full textAbstract:
A significant number of tombs have survived from the Han dynasty (Western Han 206 BC-AD 8, Eastern Han 25–220), an important period for tomb architecture in China. The number of examples is in stark contrast to the lack of evidence of other architecture from the period. In fact, no timber architecture built before the Tang dynasty (618–907) exists today. While much care and scholarly effort has been devoted to the interpretation of ancient architecture, funeral architecture has not received adequate study and scrutiny.
22
Mu, Rui. "Conservation of Western Han dynasty bronze excavated from Yangfutou, Kunming, China." Studies in Conservation 59, sup1 (September 2014): S254—S255. http://dx.doi.org/10.1179/204705814x13975704320512.
Full text
23
Jin, Xiao Chang. "Intellectuals and the state from ancient China to the Han Dynasty." Dialectical Anthropology 14, no. 4 (December 1989): 271–79. http://dx.doi.org/10.1007/bf01957264.
Full text
24
Ching, Calvin. "Ethnic Tensions between the Han and the Hui: The Neo-Sufi Jahriyya Movement of Ma Hua Long of the Late Qing Period (1862-1871)." Illumine: Journal of the Centre for Studies in Religion and Society Graduate Students Association 9, no. 1 (July 23, 2011): 66–82. http://dx.doi.org/10.18357/illumine9120107779.
Full textAbstract:
The historical study into the tensions of the late Qing Dynasty (1644–1912) between the Han and the Hui serves as a way to understand ethnic conflict in modern-day China. With an emphasis on the ideological and cultural differences between Islam and Confucianism, this paper will attempt to place the Neo-Sufi Jahriyyah movement of Ma Hua Long (d. 1871) into the historical framework of a deteriorating Qing Dynasty. Studies in this area have been challenging due to the paucity of resources on the subject and the tendency of mainstream academics during the time of the Great Leap Forward and the Cultural Revolution in China to favour the application of Marxist theory to the historiography of Qing Dynasty China. A more in-depth analysis is therefore required before one can start to uncover a more complete picture of the ethnic, religious, and political aspects of the rebellions.
25
Pankenier, David W. "Parallel Planetary Astrologies in Medieval China and Inner Asia." International Journal of Divination and Prognostication 1, no. 2 (August 25, 2020): 157–203. http://dx.doi.org/10.1163/25899201-12340008.
Full textAbstract:
Abstract Portentous clusters of the five visible planets are repeatedly implicated in historical sources in connection with dynastic transitions in early China. In the medieval period, which is the focus of this investigation, the History of the Three Kingdoms records how timely planetary portents during the decline of the Later Han dynasty (184–220 CE) were exploited as the celestial signs justifying usurpation and the founding of the (Cao-)Wei 曹魏 dynasty by Cao Pi 曹丕 (ca. 187–226). Half a millennium later, in mid-Tang 唐 dynasty, the impetus for the devastating rebellion of An Lushan 安祿山 (703–757) that nearly brought down the Tang can likewise be shown to have been strongly influenced by the historical precedents, and more immediately by a conjunction of all five visible planets that occurred in 750. That ominous astral omen, coupled with portentological speculations based on Han dynasty apocryphal texts, together with the parallels between An Lushan’s and Cao Cao’s 曹操 (155–220) careers, played a role in prompting An Lushan to attempt to overthrow the Tang. In Inner Asia, the founding of the Sasanian Empire in 224 CE in parallel with the Cao-Wei, and the emergence of a political astrology based on the periodicity of Jupiter-Saturn conjunctions suggested the possibility of mutual influences in planetary astrology. However, incompatibility between the two astrological traditions may have militated against mutual influence on a theoretical level. In the absence of detailed information concerning the foundations of Sasanian planetary astrology, to all appearances, and notwithstanding extensive cultural contact, the imperial political astrologies of China and Inner Asia in the medieval period remained resistant to infiltration in either direction.
26
Jinguang †, Zhang. "New Thoughts on the Social Forms of Ancient China (from the Zhou to Qing Dynasties)." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 51–66. http://dx.doi.org/10.1163/23521341-01010004.
Full textAbstract:
Abstract The entire course of ancient Chinese history has centered on state power, which dominated and shaped the basic picture of social history. The key to Chinese state power has been the state ownership of land, and based on this we can divide the social forms of ancient China into four successive periods: the period of yishe 邑社時代 or village societies (Western Zhou Dynasty and the Spring and Autumn Period); the period of official communal system 官社時代 (Warring States Period to Qin Dynasty to the early Han Dynasty); the period of half official communal system 半官社時代 (Han to Tang Dynasty); and the period of state vs. individual peasants 國家個體小農時代 (Song to Qing Dynasty).
27
Amurskaya, M. A. "The Development of Chinese Statistical Accounting During the Qin and Han Dynasties." Accounting. Analysis. Auditing 8, no. 2 (April 4, 2021): 71–83. http://dx.doi.org/10.26794/2408-9303-2021-8-2-71-83.
Full textAbstract:
The Chinese experience in the development of accounting thought and economic statistics is of a particular interest to Russian scientific thought, since China has been confidently demonstrating economic success for many years. The research was carried out using the methods of sampling, grouping, systematization, comparison and generalization. The historical approach was applied to the analysis of theoretical and practical materials in the Chinese language. The two periods of the development of Chinese statistical thought are distinguished: 1) the period of the Qin dynasty (221-207 BC), starting from which the Chinese state is usually regarded as centralized, and statistical accounting is regarded as national; 2) the period of the Han dynasty (206 BC — 220 AD), during which the active development of statistical accounting continued and a fairly effective system was formed that satisfies all the needs of the state at the central and local level. The practical significance of the work lies in highlighting the methods of centralizing the collection of statistical data and the organization of statistics in China, the regulation of statistical accounting and related accounting. The article presents ideas and practical recommendations of the main thinkers, academicians and scientists (such as Sima Qian, Xu Gan) in the field of statistical accounting in China at that time.
28
Yi, Ki-Hoon. "Reconsidering the location of Bohai(渤海) Sea from Han(漢) to Tang(唐) Dynasties." Barun Academy of History 19 (April 30, 2024): 7–60. http://dx.doi.org/10.55793/jkhc.2024.19.7.
Full textAbstract:
Bohai(渤海) Sea, which was crossed by Han(漢) Dynasty in 109 BC when Han(漢) attacked Gojoseon(古朝鮮), and Bo'xie(勃澥) Sea which was crossed by Sui(隋) Dynasty in 612 AD when Sui(隋) attacked Goguryeo(高句麗) were the same sea, but they were not the current Bohai(渤海) Sea that is the northern sea of the current Yellow Sea(黃海). At that time, Bohai(渤海) Sea was like a huge inland lake in the lower part of the Yellow River. This fact can be confirmed by many records of Bohai flooding, Bohai's bank bursting, and Bohai's distance from Luoyang(雒陽). The fact that the ancient cities related to Bohai were located in the north and south around the Yellow River also corroborates it. Shiji(史記) records there were two seas which were close to Gojoseon(古朝鮮) during the Earlier Han(前漢) period, the Bohai Sea(渤海) and the North Sea(北 海), and they were different seas which existed at the same time. Specifically, it is proved by this study that the ancient Bohai Sea(渤海) was in the southern Hebei Province(河北省) of China, and the current Bohai Sea was called as the North Sea(北海). Therefore, the Bohai Sea(渤海, 勃澥) that Han(漢) Dynasty and Sui(隋) Dynasty had crossed to attack Gojoseon and Goguryeo can not be the current Bohai Sea(past North Sea), but the ancient Bohai Sea, which was inland in the Central Plain(中原) of China. These fact proves that the current global scholars’ assignment of the capitals of Gojoseon and Goguryeo to Pyongyang(平壤), North Korea, is most likely in error. This is because if the Bohai Sea(渤海) was inland in the Central Plain(中原) of China, it means that the Han(漢) and Sui(隋) dynasties crossed the sea that was not the sea that they had to cross to attack Pyongyang(平壤), North Korea. In other words, it can be inferred that the capitals of Gojoseon and Goguryeo were in the northern part of present-day Hebei Province (near Beijing) of China, not in the Korean Peninsula.
29
Li, Bin, An Ding Liu, Qiang Li, and Xiao Ming Yang. "Study on the Evolution of the Looms in Ancient China." Advanced Materials Research 627 (December 2012): 449–55. http://dx.doi.org/10.4028/www.scientific.net/amr.627.449.
Full textAbstract:
The development path of the looms is a key to study on the looms in ancient China. Based on the studies on historical materials and archeological findings of the looms in ancient China, we found that there were two paths in the development process of the looms in ancient China. Before the Han Dynasty (206BC-AD220), plain weave and figure-weave fabrics were produced on similar looms. But after the Han Dynasty, the two kinds of looms evolved into all kinds of the treadle loom, the multi-heald and multi-treadle loom and the draw loom.
30
Wang, Ronghuang, and Wanqing Chen. "A Study on the Funerals of the Han Buddhist Monks of Lingnan during the Late Qing Dynasty via the Haichuang Temple in Guangzhou." Religions 14, no. 7 (July 17, 2023): 924. http://dx.doi.org/10.3390/rel14070924.
Full textAbstract:
The funeral protocol of Buddhist monks is an important part of the rituals of Han Buddhism. The monks’ funeral rituals were recorded in detail in the Monastic Rules (清规) of Chan. The funeral of Chinese Buddhism monks after the Song Dynasty was known through the records of Monastic Rules. However, how it is concretely practiced is unknown. In the late Qing Dynasty, Westerners who came to China out of curiosity about the rituals of Han Buddhism recorded the process and details of the funerals of the monks in the temples they visited, among which Haichuang Temple (海幢寺) in Guangzhou ranks first. The funerals of the monks at Haichuang Temple in the late Qing Dynasty inherited the tradition of Chan funeral culture from the Song Dynasty. Meanwhile, the degradation into secular funeral culture appeared. Influenced by the secular funeral culture in Lingnan (岭南), the tombs of the monks in Chan Temples there, among them, Haichuang Temple is listed as a typical example, showed a trend toward the Shanshou Tomb (山手墓) in the early Qing Dynasty. In the late Qing Dynasty, some of the ancestral tomb-pagodas (祖师墓) in Lingnan Chan Temples abandoned the traditional form of pagodas completely and were almost the same as the Shanshou Tombs. The degradation of the funeral culture of Han Buddhism in the late Qing Dynasty reflects the declining trend of Buddhism.
31
Marshall, Alison R. "Engendering mediumship: When youths performed the rain dances in Han dynasty China." Studies in Religion/Sciences Religieuses 32, no. 1-2 (March 2003): 83–100. http://dx.doi.org/10.1177/000842980303200105.
Full textAbstract:
Sumary: Historically, mediumship has provided significant social and religious opportunities for women in China, allowing them to have roles beyond those traditional ones at court and in the inner chambers as daughters, mothers, wives, concubines, servants and singing girls. Women performed as rain dancers in the great rituals to summon or to end the rain and also acted as healers, exorcists, diviners and counselors, among other things. However, religious ideas that developed and became popular during the Han dynasty (206-220 C.E.) placed restrictions on gender roles, introducing hierarchies of importance and power in which women as yin were often perceived to be inferior to men who were yang. As this paper explains, the engendering of mediumship enabled youths gradually to replace women in the rain dances and at court.
32
Steinhardt, Nancy Shatzman. "Review: The Mingqi Pottery Buildings of Han Dynasty China by Qinghua Guo." Journal of the Society of Architectural Historians 70, no. 3 (September 1, 2011): 388–89. http://dx.doi.org/10.1525/jsah.2011.70.3.388.
Full text
33
seo, yunkyung. "A Study on the 'Hunting Images' in the Han Dynasty Tombs, China." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 59 (May 30, 2023): 31–69. http://dx.doi.org/10.19078/ea.2023.59.2.
Full text
34
Festa, Marcella, Miao Wu, Gaomin Qin, Batong Qiao, Wei Wang, Yiheng Xian, Francesca Monteith, and Chun Yu. "Animal use in Han dynasty cities: Zooarchaeological evidence from Yishengci, Nanyang (China)." Archaeological Research in Asia 38 (June 2024): 100514. http://dx.doi.org/10.1016/j.ara.2024.100514.
Full text
35
Tseng, Lillian Lan-Ying. "Representation and Appropriation: Rethinking the TLV Mirror in Han China." Early China 29 (2004): 163–215. http://dx.doi.org/10.1017/s0362502800007112.
Full textAbstract:
No decorative arts in China have aroused as intense modern academic interest as the TLV mirror that was mass-produced in the Han dynasty. Scholars from different fields have strived to rival one another in identifying its obscure design since the beginning of the twentieth century. With new evidence, particularly a mirror and a wooden board unearthed in 1993 at Yinwan, it is time to settle and set aside the old disputation about identification, and to move on to the intellectual adventure of the cultural significance of the TLV mirror in Han China. This paper first considers the complex of art, game and divination. It then discusses how the TLV mirror can serve a cultural sign that demonstrates the “auspicious mentality” of the Han. It also considers how the formal variants of the TLV mirror illustrate the life of a cultural sign.
36
You, Xiaoye. "Building Empire through Argumentation: Debating Salt and Iron in Western Han China." College English 72, no. 4 (March 1, 2010): 367–84. http://dx.doi.org/10.58680/ce20109971.
Full textAbstract:
The history of American imperialism, as well as China’s strong presence on the contemporary global scene, should encourage American scholars of rhetoric to look beyond the nation-state and study other rhetorical traditions such as Chinese practices of argument. A debate during the Western Han dynasty over the country’s economic policies illustrates how official-orators discursively engaged one another while representing various philosophical orientations. This debate also reminds us of how important the values of humanity, empathy, and responsibility should be in contemporary rhetorical education.
37
Xiaodun, Wang, and Sun Xiaohui. "Yuebu of the Tang Dynasty: Musical Transmission from the Han to the Early Tang Dynasty." Yearbook for Traditional Music 36 (2004): 50–64. http://dx.doi.org/10.1017/s0740155800020452.
Full textAbstract:
This paper studies the system and development of the yuebu, an official court music system during the Tang dynasty. Research on the music of the Tang dynasty has been quite abundant, mostly on the yanyue (court banquet music that was administered by the yuebu), with notable studies by scholars such as Ren Bantang (1982), Kishibe Shigeo (1973), Wang Xiaodun (1995), and Shen Dong (2000). However, previous research on music of the Tang dynasty emphasised acculturation and assimilation between China and cultures from bordering western countries; they did not look at music of the Tang court from the perspective of the yuebu as a complex bureaucratic system. Our interest focuses on yuebu as a functioning system that reflected a historically important route of transmission of traditional Chinese music. Through examining the cultural integration of several dynasties encompassing a period lasting more than three hundred years from the Han to the early Tang dynasties, as well as migration and training of the musicians of the yuebu and their method of musical transmission (particularly transmission within the family unit), this paper aims to gain an insight into the historical basis and cultural meaning of the yuebu. The discussion consists of two parts. Part one introduces the classification and the nature of the yuebu. On the one hand, as an official musical organisation in the court, the music repertory of the yuebu was the result of combinations of a variety of musical cultures from the Han to the Tang dynasties. On the other hand, as a bureaucratic organisation, yuebu represented a system consisting of “yue (music), qi (instruments), gong (musicians), and yi (uniform)”, legally sanctioned under the “yuelin (law on music)”. Part two concerns itself with the development of the yuebu in the Tang dynasty through scrutinizing the impact of migration and the training of musicians, and musical transmission during the pre-Tang era (namely, the Wei, Jin, Southern and Northern, and Sui dynasties). From this, the paper ventures to explore, with a musicological approach, the typical means of propagating music traditions in China via training and transmission within a relatively closed system that was self-protecting and maintained within the family unit.
38
Xing, Cheng. "Research on the Battle of White Wolf Mountain." SHS Web of Conferences 148 (2022): 02020. http://dx.doi.org/10.1051/shsconf/202214802020.
Full textAbstract:
The Battle of White Wolf Mountain (207) was one of the most important battles in late Eastern Han Dynasty (184-220). It symbolized the demise of Wuhuan, a powerful nomadic tribe living near the northeast border of Eastern Han Dynasty (25-220). At the same time, the victory of this battle signified that Cao Cao (155-220) and his military group further unified the north of China. What’s more, it was a classical battle that the army of the Han nationality defeated the nomads with cavalry.
39
Deng, Feng. "Endogenous evolution of patriarchal clan system in ancient China." International Journal of Social Economics 44, no. 10 (October 9, 2017): 1322–34. http://dx.doi.org/10.1108/ijse-12-2015-0330.
Full textAbstract:
Purpose The purpose of this paper is to analyze long-term institutional causes and consequences of preference falsification by studying the evolution of China’s patriarchal clan system. Design/methodology/approach The historic study shows that although the clan system was abolished in the Qin dynasty, it re-emerged among high-standing families in the Han dynasty and spread to common people after the Tang dynasty. Findings The author submits that the clan system was an institutional response to the preference falsification problem that arose due to the dictatorial political institutions first established in the Qin dynasty. It helped people to take collective action by themselves and also opened a back door to influence government decisions. A piece of clear evidence is the co-evolution of the clan system and government personnel system. Social implications In this sense, the clan system probably also helped to prolong the political institutions for 2,000 years. Originality/value This is the first institutional study on the clan system in China.
40
Mubing, Qiu. "Han-era Funerary Art Objects — Works of Bronze. Han-era Bronze Aesthetics." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 53–60. http://dx.doi.org/10.36340/2071-6818-2021-17-2-53-60.
Full textAbstract:
Speaking of bronze here we refer to various objects made of bronze which is an alloy composed of pure copper and tin, which contains a small fraction of lead. Because bronze is an alloy, its melting point is at a lower temperature than that of pure copper, but the material itself is harder. Ji jin 1 (吉金)ritual metal vessels, mentioned in ancient Chinese sources are in fact works of bronze. The invention of bronze alloys was an event of epochal historical importance. Thus, the period from the invention of bronze to ubiquitous use of iron is called the Bronze Age. The Bronze Age in China began with the birth of the Chinese civilization. It lasted until the end of Han dynasty and had several stages of development. Works of bronze first appeared in China in slave-owning society of XiaShang (夏商2070 BC), and reached its zenith at the peak of slave-owning system at the end of Shang (商)and the beginning of Zhou. After the end of Chunqiu period (春 秋475 BC) the slave-owning system began to decline, and the production of bronze items dwindled. In comparison to Shang and Zhou (周朝) bronze, Han objects are much smaller in size because during this period their primary purpose was to be used in common everyday life. Mystical, solemn and even somewhat barbaric bronze of Shang and Zhou was replaced by modest, practical and convenient household utensils.
41
Xiang, Wu. "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 10–31. http://dx.doi.org/10.36340/2071-6818-2022-18-4-10-31.
Full textAbstract:
The article analyses the Heaven-and-Man Oneness concept, which appeared during Emperor Wu of Liang's reign (汉武帝) and was important for the art of ancient China during the Han Dynasty. On its basis, the ideological thinking based on the Confucian view was formed. This philosophical concept explains the desire for a harmonious coexistence of man and heaven, where man and nature merge and mutually influence each other. The author emphasises that it is necessary to consider that during the long period of Confucian, Taoist and other teachings development, they constantly intertwined and mixed. Such a merger led to the fact that the Han Dynasty Confucian ideas, which combined the rituals of a strict social hierarchy and Taoist metaphysics, actively strengthened the consolidation of social stratification and the divine origin of the ruling class. Therefore, Confucianism was recognised and fully used by those in power. The Confucian teaching of the Han Dynasty, led by its primary representative Dong Zhongshu (1), exalted the Heaven-and-Man Oneness concept（天人合一), implying that man and Heaven are one. Sculptures in mausoleums are a product of the funerary culture. They bear the ideas of ancient people about life, death and the universe, at the same time being an essential part of the ancient China sculpture, which reflects the achievements and aesthetic aspirations characteristic of the ancient China art. Under the influence of the Heaven-and-Man Oneness concept and the cultures of small-numbered peoples from the north and the kingdom of Chu（楚国) from the south, a unique style of stone carving was formed. The era of the Han Dynasty is the period of the emergence of funerary plastics. This historical period is divided into Western and Eastern Han. Until now, only stone sculptures erected in front of the tombs of officials have survived. The sculptures from the burial of Huo Qubing（霍去病）are an example of stone sculptures of Western Han tombs. Here, attention was paid to the original texture and shape of the stone; processing was minimal; the imagery technique was used （意象）through which the ideological approach of the harmonious unity of man and nature with the heaven-and-man oneness（天人合一) was expressed. At the same time, funerary plastic art was influenced by the traditions of the nomadic peoples of Northern China. Such features as naturalness and roughness of the image were formed. In stone sculptures in front of the tombs of the Eastern Han, man's fantasies about heaven were expressed, as well as the desire to gain immortality after death. At the same time, the stone sculptures were aesthetically influenced by the mystical and romantic realm of Chu. funerary plastic art was influenced by the traditions of the nomadic peoples of Northern China. Such features as naturalness and roughness of the image were formed. In stone sculptures in front of the tombs of the Eastern Han, man's fantasies about heaven were expressed, as well as the desire to gain immortality after death. At the same time, the stone sculptures were aesthetically influenced by the mystical and romantic realm of Chu.
42
Du, P., and X. Zheng. "City drainage in ancient China." Water Supply 10, no. 5 (December 1, 2010): 753–64. http://dx.doi.org/10.2166/ws.2010.112.
Full textAbstract:
This paper gives an overview of the evolution of city drainage in ancient China, and analyzes the achievement of drainage of such cities as Pingliangtai in Henan province, Xibo of Shang Dynasty, Linzi, the capital of the State of Qi, Chang'an, the capital of Han and Tang Dynasties, Kaifeng, the Eastern Capital of Northern Song Dynasty, Ganzhou, Dadu, the capital of Yuan Dynasty; and Beijing, the capital of Ming and Qing Dynasties. This paper also sums up the characteristics and the management experiences of the drainage facilities of ancient Chinese cities, including drainage system management methods, rules and laws about drainage in different eras, and overall principles of ancient city water systems. At present, most major cities in China are facing issues relating to drainage systems and city water systems. These cities are often bothered by floods and other water-related problems. Learning from the ancestors' experience would be important and necessary for modern planners and decision makers. Therefore this paper may be used for reference in modern city planning and construction.
43
Zhang, James. "The Effects of Transportation Infrastructure for Trade Development in Han China in the Early Silk Road." Lecture Notes in Education Psychology and Public Media 9, no. 1 (September 14, 2023): 46–51. http://dx.doi.org/10.54254/2753-7048/9/20230058.
Full textAbstract:
In light of the rapid globalization and trade development of Han China, the dynasty experienced unprecedented levels of expansion and economic prosperity. This article traces vital aspects of development through the historic accounts of transportation infrastructure across of China, namely the substantial manuscripts found at the Xuanquan Dunhuang postal station. Han China found that in order to increase international relations, there were key components that needed to be ameliorated capacity of travel and proliferation of foreign commodities. At the same time, the empire needed to account for the spread of autonomous regions due to the regional expansion, meaning effective communication and a proficient network remained vital in maintaining the integrity of the empire. The resulting solution came to be the investments in the development of transportation infrastructure along the borders of China.
44
Zhao, Feng, Yi Wang, Qun Luo, Bo Long, Baichun Zhang, Yingchong Xia, Tao Xie, Shunqing Wu, and Lin Xiao. "The earliest evidence of pattern looms: Han Dynasty tomb models from Chengdu, China." Antiquity 91, no. 356 (April 2017): 360–74. http://dx.doi.org/10.15184/aqy.2016.267.
Full text
45
Kaufman, Carol J. "The Evaluation of Marketing in a Society: The Han Dynasty of Ancient China." Journal of Macromarketing 7, no. 2 (October 1987): 52–64. http://dx.doi.org/10.1177/027614678700700207.
Full text
46
McMahon, Keith. "Women Rulers in Imperial China." Nan Nü 15, no. 2 (2013): 179–218. http://dx.doi.org/10.1163/15685268-0152p0001.
Full textAbstract:
“Women Rulers in Imperial China”is about the history and characteristics of rule by women in China from the Han dynasty to the Qing, especially focusing on the Tang dynasty ruler Wu Zetian (625-705) and the Song dynasty Empress Liu. The usual reason that allowed a woman to rule was the illness, incapacity, or death of her emperor-husband and the extreme youth of his son the successor. In such situations, the precedent was for a woman to govern temporarily as regent and, when the heir apparent became old enough, hand power to him. But many women ruled without being recognized as regent, and many did not hand power to the son once he was old enough, or even if they did, still continued to exert power. In the most extreme case, Wu Zetian declared herself emperor of her own dynasty. She was the climax of the long history of women rulers. Women after her avoided being compared to her but retained many of her methods of legitimization, such as the patronage of art and religion, the use of cosmic titles and vocabulary, and occasional gestures of impersonating a male emperor. When women ruled, it was an in-between time when notions and language about something that was not supposed to be nevertheless took shape and tested the limits of what could be made acceptable.
47
Zhou, Yiru. "Feminization Phenomenon of Guanyin: The Gender Transformation of Religious Icon in Song Dynasty." Communications in Humanities Research 8, no. 1 (October 31, 2023): 137–47. http://dx.doi.org/10.54254/2753-7064/8/20230986.
Full textAbstract:
Guanyin, the Bodhisattva of Compassion, holds an esteemed and irreplaceable position within Mahayana Buddhism. The belief in Guanyin has flourished across various regions of China, becoming deeply entrenched in the religious and cultural fabric of the country. Throughout history, the image of Guanyin has undergone a significant transformation, evolving from a male representation to a revered female deity. This article aims to delve into the period spanning the Han Dynasty to the Song Dynasty, in order to unravel the origins of Guanyins gender and analyze the profound aesthetic implications associated with the shifts in Guanyins depiction over time. By scrutinizing the fusion and compromise of the Buddhist notion of equality from its Indian roots and its subsequent integration into Han China, alongside the prevalent Confucian belief in male superiority and female inferiority, the article seeks to illuminate the social and philosophical underpinnings behind the widespread acceptance of the female Guanyin during the Song Dynasty.
48
Yang, Bing, Chengguang Lai, Xiaohong Chen, Vijay P. Singh, and Jiawen Wang. "Multi–Proxy Reconstruction of Drought Variability in China during the Past Two Millennia." Water 14, no. 6 (March 10, 2022): 858. http://dx.doi.org/10.3390/w14060858.
Full textAbstract:
Drought imposes serious challenges to ecosystems and societies and has plagued mankind throughout the ages. To understand the long-term trend of drought in China, a series of annual self-calibrating Palmer drought severity indexes (scPDSI), which is a semi-physical drought index based on the land surface water balance, were reconstructed during AD 56~2000. Multi-proxy records of tree-ring width and stalagmite oxygen isotope δ18O were used for this reconstruction, along with random forest regression. The spatiotemporal characteristics of the reconstruction results were analyzed, and comparisons were made with previous studies. Results showed that (1) China witnessed a drought-based state during the past 2000 years (mean value of scPDSI was −0.3151), with an average annual drought area of 85,000 km2; 4 wetting periods, i.e., the Han Dynasty (AD 56~220), the Tang Dynasty (AD 618~907), the Ming Dynasty (AD 1368~1644), and the Qing Dynasty (AD 1644~1912); and 2 drying periods, i.e., the Era of Disunity (AD 221~580) and the Song Dynasty (AD 960~1279). (2) Three different alternating fluctuation dry-wet modes (i.e., interannual, multidecadal, and centennial scales) in China were all significantly (p-value < 0.001) correlated with the amplitude and frequency of temperature in the Northern Hemisphere. (3) According to the spatial models disassembled from the rotated empirical orthogonal function, China was divided into nine dry-wet regions: northwestern China, Xinjiang, southwestern China, southeastern China, the Loess plateau, central China, southwestern Tibet, eastern China, and northeastern China. (4) The random forest (RF) was found to be accurate and stable for the reconstruction of drought variability in China compared with linear regression.
49
Ruan, Xiangdong, Yongjing Guan, Zhaoming Xiong, Weiming Wu, Huijuan Wang, Shan Jiang, Ming He, Kexin Liu, Filippo Terrassi, and Manuela Capano. "AMS Radiocarbon Dating of an Ancient Pottery Workshop in Hepu County, China." Radiocarbon 52, no. 2 (2010): 479–82. http://dx.doi.org/10.1017/s0033822200045501.
Full textAbstract:
An ancient pottery workshop belonging to the Han Dynasty was excavated in Caoxie village, Hepu County. Caoxie village is an important archaeological site in Hepu County, Beihai City, in south China's Guangxi Zhuang Autonomous Region. It is believed that Hepu County was the oldest departure point on the ancient maritime trading route during the Han Dynasty (206 BC to AD 220) due to the ideal natural geographical conditions and the existence of a large number of Han tombs. Radiocarbon measurements on wood and charcoal samples from the Caoxie village site were performed at the Peking University AMS facility (PKU-AMS), Beijing, and the Centre for Isotopic Research for Cultural and Environmental Heritage (CIRCE) at Naples Second University, Italy. Calibrated ages were obtained with code CALIB 5 (Stuiver and Reimer 1993). The results of these measurements are presented and the related chronology is discussed.
50
Luo, Bachagha, Yao, Liu, Shi, Zhu, Shao, and Wang. "Identifying Linear Traces of the Han Dynasty Great Wall in Dunhuang Using Gaofen-1 Satellite Remote Sensing Imagery and the Hough Transform." Remote Sensing 11, no. 22 (November 19, 2019): 2711. http://dx.doi.org/10.3390/rs11222711.
Full textAbstract:
The Han Dynasty Great Wall (GH), one of the largest and most significant ancient defense projects in the whole of northern China, has been studied increasingly not only because it provides important information about the diplomatic and military strategies of the Han Empire (206 B.C.–220 A.D.), but also because it is considered to be a cultural and national symbol of modern China as well as a valuable archaeological monument. Thus, it is crucial to obtain the spatial pattern and preservation situation of the GH for next-step archaeological analysis and conservation management. Nowadays, remote sensing specialists and archaeologists have given priority to manual visualization and a (semi-) automatic extraction approach is lacking. Based on the very high-resolution (VHR) satellite remote sensing imagery, this paper aims to identify automatically the archaeological features of the GH located in ancient Dunhuang, northwest China. Gaofen-1 (GF-1) data were first processed and enhanced after image correction and mathematical morphology, and the M-statistic was then used to analyze the spectral characteristics of GF-1 multispectral (MS) data. In addition, based on GF-1 panchromatic (PAN) data, an auto-identification method that integrates an improved Otsu segmentation algorithm with a Linear Hough Transform (LHT) is proposed. Finally, by making a comparison with visual extraction results, the proposed method was assessed qualitatively and semi-quantitatively to have an accuracy of 80% for the homogenous background in Dunhuang. These automatic identification results could be used to map and evaluate the preservation state of the GH in Dunhuang. Also, the proposed automatic approach was applied to identify similar linear traces of other generations of the Great Wall of China (Western Xia Dynasty (581 A.D.–618 A.D.) and Ming Dynasty (1368 A.D.–1644 A.D.)) in various geographic regions. Moreover, the results indicate that the computer-based automatic identification has great potential in archaeological research, and the proposed method can be generalized and applied to monitor and evaluate the state of preservation of the Great Wall of China in the future.