Journal articles: 'HAN-DYNASTY'

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Ouyang, Mingding, and Shisheng Lv. "Research on the application of amber modeling and matching art in contemporary amber design in Han Dynasty." BCP Social Sciences & Humanities 18 (June 30, 2022): 571–77. http://dx.doi.org/10.54691/bcpssh.v18i.1164.

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By studying the characteristics of amber art in Han Dynasty, this paper focuses on the matching features of Shengxing ornament, animal sculpture and necklace in Han Dynasty amber art. Secondly, it collects the main styles of contemporary amber design, analyzes the contemporary amber aesthetics, and finds out the similarities between Han Dynasty amber art and contemporary amber art, and finally designs a set of programs that can adapt to the modern amber market, Summed up the Han Dynasty amber art in the application of modern amber design rules, so that the Han Dynasty amber art can be in contemporary amber design vitality. This paper will be analyzed at the following levels: the first chapter analyzes the current amber design market; the second chapter analyzes the social background and artistic characteristics of Han Dynasty amber art; the third chapter analyzes the feasibility and fusion point of Han Dynasty amber art in contemporary amber design on the basis of studying the characteristics of Han Dynasty amber art and contemporary amber design.

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Zhang (張峰屹), Fengyi. "The Influence of Chenwei on Han Dynasty Literature and Literary Theory." Journal of Chinese Humanities 8, no. 1 (July 8, 2022): 58–115. http://dx.doi.org/10.1163/23521341-12340125.

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Abstract Apocryphal chenwei ideas and beliefs rose to prominence in the Han dynasty as a political and cultural movement that became closely intertwined with orthodox classical scholarship. These ideas and beliefs profoundly influenced the literature and literary theory of this period, and their influence must be taken into consideration – alongside that of classical scholarship – when undertaking Han dynasty literary and cultural research. A comprehensive understanding of Han dynasty literature and literary thought can only be obtained when connections to both chenwei themes and classical scholarship have been recognized. Accordingly, this article seeks to shed light on the strong links between chenwei concepts and Han dynasty literary thought through an examination of chenwei influence on Han dynasty poetry and literary theories.

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Wang, Yuting. "The Rise and Fall of the Western Han Dynasty Imperial Power from the Perspective of Mausoleum Regulations." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 185–94. http://dx.doi.org/10.54097/9mh4vj35.

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This paper uses the cultural factor analysis method in the archaeological research method to explore the rise and fall of the imperial power of the Western Han Dynasty by taking the remains in the regulation of the mausoleum of the Western Han Dynasty as the analysis and research object. By combing the evolution of the imperial mausoleum system in the Western Han Dynasty, this paper aims to analyze the influence of the imperial power system on the regulation of the imperial mausoleum. At present, the academic circles generally believe that the mausoleum system in the early Western Han Dynasty was ‘Han Cheng Qin system’, and gradually improved and developed independently in the middle and late stages, but there is still a debate on whether there is ‘Zhao Mu’. The current archaeological data and research show that the imperial power has become an important factor restricting the layout of the Western Han Dynasty mausoleum under the influence of different political ideas, and it involves the destruction of the Han ancestral temple. This paper argues that the Han Dynasty laid the foundation for the development of the imperial mausoleum system in later generations.

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Pulleyblank, Edwin G. "The Reconstruction of Han Dynasty Chinese." Journal of the American Oriental Society 105, no. 2 (April 1985): 303. http://dx.doi.org/10.2307/601709.

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Yang, Yang. "The theory of Han is the fire dynasty and Yao's progeny's established in the Han Dynasty." Journal of School Social Work 68 (November 30, 2017): 225–56. http://dx.doi.org/10.37924/jssw.68.8.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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LIU, Yutong. "On the Supremacy of Confucianism and the Periodization of Confucian Classics Learning in the Han Dynasty." Asian Studies 12, no. 1 (January 18, 2024): 87–112. http://dx.doi.org/10.4312/as.2024.12.1.87-112.

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Wang Baoxuan’s 王葆玹 argument that Emperor Wu of the Han dynasty respected the Five Confucian Classics and tolerated non-Confucian schools because the “supremacy of Confucianism” (獨尊儒術) was not implemented until the reign of Emperor Cheng can be disputed. Additionally, Wang’s premise that masters learning (子學) in the Warring States period was the source of classics learning (經學) in the Western Han dynasty, and the extinction of masters learning during the supremacy of Confucianism led to the decline of classics learning, can also be debated. This paper proposes that with regard to the supremacy of Confucianism, the focus was on the second founding of the Han dynasty, not on the relationship between classics learning and masters learning. Both the Qin dynasty and the Western Han dynasty had masters learning as their guiding ideology, but Emperor Wu found that solely relying on masters learning, which was a collection of ideas by important thinkers, was not sustainable. Instead, the Han dynasty needed to be based on classics learning, which represented the traditional Chinese civilization that was inherited from the three ancient and sacred Chinese dynasties of the Xia, Shang, and Zhou. The supremacy of Confucianism was thus a means of ensuring the continuity and stability of the Han dynasty that was applied by Dong Zhongshu and Emperor Wu.

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Kang, Wenrong, and Zhe Lin. "Re-study on the Restoration of Lacquered Wooden Screens in the tomb of the NanYue King of Western Han Dynasty, Guangzhou." SHS Web of Conferences 183 (2024): 01007. http://dx.doi.org/10.1051/shsconf/202418301007.

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Lacquered wooden screen copper components unearthed from the tomb of the King of the NanYue in Xianggang Mountain, Guangzhou City, is an archaeological discovery of a practical screen relics of the Western Han Dynasty. Lacquered wooden screen copper components unearthed from the tomb of the King of the NanYue in Xianggang Mountain, Guangzhou City, is an archaeological discovery of a practical screen relics of the Western Han Dynasty. After excavation and organisation, its restored parts have become one After excavation and organisation, its restored parts have become one of the important exhibits in the NanYue King Museum in Guangzhou. In this paper, according to the archaeological excavation report of the tomb of the King of NanYue of the Western Han Dynasty and related information, combined with the copper components of the screen in kind, using the Western Han Dynasty After the study, it is found that the materials used in its construction conform to a materials used in its construction conform to a certain scale modulus law, according to which the restoration results obtained from the research law are more reasonable and credible, and at the same time, it reveals the scientific nature of the research technology of small woodwork in Lingnan during the Western Han Dynasty. Western Han Dynasty.

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Lin, Zidong, Cheuk Ying Ng, and Haoyue Jia. "Exploration of the Mountain Sacrificial System in the Han Dynasty." BCP Social Sciences & Humanities 22 (August 2, 2023): 158–63. http://dx.doi.org/10.54691/bcpssh.v22i.5354.

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Natural worship is a unique spiritual activity of human civilization that has existed since ancient times, arising from the awe-inspiring feeling that humans have towards mountains, rivers, and all things in nature. The mountain sacrifice system is a ritual practice that developed from the spiritual development of natural worship. Since the mythological era, the worship of natural phenomena and objects has existed, and Confucianism incorporated the ethics of nature into its doctrine, including mountains and rivers in its philosophical concept of Earth. During the Han Dynasty, rulers reorganized and reformed the mountain sacrifice system and formed the core ritual of the Taishan Mountain sacrifice. The various functions of the Han Dynasty mountain sacrifice ceremony reveal social customs during the Western Han period and Confucian related rituals. The changes in the mountain sacrifice policy during the Han Dynasty reflect the political strategies of rulers and the connection between Confucianism and its rituals. This article analyzes the changes in the Han Dynasty mountain sacrifice system and the basic situation of Han people's worship and beliefs through close reading of texts. It aims to demonstrate the peculiarities of the Han Dynasty mountain sacrifice system and its connection with Confucianism and its rituals.

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Bu, Xiangwei. "On the Sea and The Belief of Sea God in Han Dynasty Society." Academic Journal of Science and Technology 4, no. 1 (December 5, 2022): 27–29. http://dx.doi.org/10.54097/ajst.v4i1.3106.

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"Sea" has multi-dimensional meaning, geographical connotation is its original meaning, and it also has political, economic and cultural special significance. The sea God extended from the sea, and then appeared the social sea god belief, they are a new interpretation of Marine culture. The belief in sea God in Han Dynasty was characterized by personalization, secularization and socialization, which was in line with the development of the whole Han Dynasty society. So far, the belief in sea God had been integrated into the Han society, and the influence of Marine culture accompanied the social life of the Han Dynasty.

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Joonghyuk Im. "The Immorality Crime in the Han dynasty." JOURNAL OF CHINESE STUDIES ll, no. 46 (December 2014): 29–71. http://dx.doi.org/10.26585/chlab.2014..46.002.

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Sun, Rongyue. "The Sogdians at Dunhuang in Han Dynasty." Asian Culture and History 14, no. 2 (October 2, 2022): 49. http://dx.doi.org/10.5539/ach.v14n2p49.

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This research focuses on the relationship between people from the Sogdian Civilization and the city Dunhuang, including the Sogdians’ different identities when they arrived at Dunhuang, such as ambassadors, guests, Zhi Zi, and merchants. The Sogdians have played a significant role in the material and cultural exchanges on the Silk Road since the Western Han Dynasty, yet seldom do people know or learn about the Sogdian Civilization. Therefore, the purpose of this essay is to inform people about the Sogdians’ nonnegligible contribution and mutual impact on Chinese history and culture. The paper mainly uses quotations from Chinese historical records and articles written by modern scholars, with some sources related to archaeological discoveries and methods.

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Xianxing, Zheng. "The dog in Han dynasty folk beliefs." Chinese Studies in History 51, no. 3 (July 3, 2018): 258–75. http://dx.doi.org/10.1080/00094633.2018.1544014.

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Sawyer, Ralph D. "Trajectories to rebellion: the Former Han dynasty." Small Wars & Insurgencies 31, no. 5 (June 24, 2020): 956–87. http://dx.doi.org/10.1080/09592318.2020.1764712.

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Emmerich, Reinhard. "WANG CHONG’S PRAISES FOR THE HAN DYNASTY." Monumenta Serica 56, no. 1 (December 2008): 117–48. http://dx.doi.org/10.1179/mon.2008.56.1.005.

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江, 远婷. "Mythology Implied in Han Dynasty Portrait Bricks." Chinese Traditional Culture 11, no. 04 (2023): 372–76. http://dx.doi.org/10.12677/cnc.2023.114058.

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Wang, Fang. "Archaeological Study of Han Dynasty Dance Clothes." Museum 3, no. 1 (February 1, 2019): 10–20. http://dx.doi.org/10.3724/2096-1715.2019.003.001.010.

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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.

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Zhang, Yijia. "The Non-government Trade Between the Western Han Dynasty and the Xiongnu in the 2nd Century BCE." Communications in Humanities Research 29, no. 1 (April 19, 2024): 179–83. http://dx.doi.org/10.54254/2753-7064/29/20230671.

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The paper pays close attention to the non-government trade between the Western Han Dynasty and the Xiongnu and its unintended political consequences in the 2nd century BCE. Through the investigation of the Central Plains and the north nomadic patriarch period of communication history based on traditional literature and archaeological sources, the work holds that the domestic trade network since the 5th century BCE extended beyond the Central Plains during the Warring States period. It became a tool for the game between the two regimes in the early Western Han Dynasty. Then, when the Han regime gained the upper hand in the game, its economic and political influence extended to the northern and Western regions with the extension of the trade network, which made the foreign trade of the Han Dynasty become domestic trade to some extent. At the same time, the foreign policy of the Han Dynasty became hardline, leading to territorial expansion, which became a liability to the empire, especially when it was in decline.

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Hong, Dou. "A Comparative Study of Dance Characteristics on Han Dynasty Portrait Stones in Nanyang and Shandong." Transactions on Social Science, Education and Humanities Research 5 (April 1, 2024): 566–76. http://dx.doi.org/10.62051/7rpb6t12.

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The Han Dynasty was a prosperous period in Chinese history, during which dance art also made significant advancements. This paper focuses on the study of portrait stones from the Han Dynasty, conducting a classification, comparison, and regional distribution analysis of dance images on Nanyang and Shandong portrait stones. By integrating historical literature, archaeological data, and contemporary dance theory, the paper reveals the characteristics of dance culture in different regions during the Han Dynasty and their geographical differences. The research finds that the dances depicted on Nanyang portrait stones exhibit distinct regional features, showcasing a vivid, natural, and simple folk dance style. In contrast, the dances on Shandong portrait stones are influenced by Confucian culture, displaying a more splendid and standardized character. These differences reflect the diversity of regional cultures and the flourishing of folk dance during the Han Dynasty.

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Zhao, Difei, Chaowei Liu, Xinyue Zhang, Xiaoyue Zhai, Yinglan Deng, Hongyu Chen, Juju Hu, Dandan Liu, and Pingjia Luo. "3D Digital Modeling as a Sustainable Conservation and Revitalization Path for the Cultural Heritage of Han Dynasty Stone Reliefs." Sustainability 15, no. 16 (August 17, 2023): 12487. http://dx.doi.org/10.3390/su151612487.

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Cultural relics and historical sites serve as carriers of cultural, historical, and artistic information. However, any damage incurred by these cultural relics can result in the loss of information, consequently impacting sustainable conservation and revitalization of the cultural heritage. Han Dynasty stone reliefs are a representative carrier of art and history during the Han Dynasty, an early stage of Chinese history. Due to the influence of materials, carving techniques, and protective measures, the conservation and revitalization of Han Dynasty stone reliefs have been significantly restricted. In this study, a systematic investigation was carried out to study the current situation and existing problems related to the protection of Han Dynasty stone reliefs. Additionally, a case study was conducted using the Wuling Ancestral Hall (Wuliang Shrine) as an example, to explore the integration of 3D digital technology as a new sustainable approach. The results show that natural weathering and conventional techniques have caused irreversible information loss. Thus, adopting a three-dimensional digital perspective is crucial when considering the information preservation and revitalization of Han Dynasty stone reliefs. To achieve this, 3D digital models of representative stone reliefs, tomb chambers, and other sculptures from the Wuliang Ancestral Hall were established. These models provide new paths for accurately recording 3D information and better utilizing cultural heritage. Faced with the challenge of preserving historical heritage and its associated information, a workflow including 3D scanning, data collection and processing, 3D modeling, visualization, and information utilization is proposed. This approach offers new approaches for sustainable conservation and revitalization of Han Dynasty stone reliefs.

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Xia, Chenxi, and Yingwei Yu. "A Study of Tang Sancai Art under the Influence of Hu-Han Cultural Interaction." Highlights in Art and Design 2, no. 2 (March 20, 2023): 29–34. http://dx.doi.org/10.54097/hiaad.v2i2.6155.

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In the 5,000 years of Chinese history, the Tang Dynasty, with its self-confidence, openness and tolerance, widely absorbed the essence of various ethnic groups and foreign cultures, realized a high degree of intermingling of Hu and Han peoples and cultures, and forged the Tang culture with a strong vitality based on the local Han culture and the intersection and fusion of various cultures. Tang Sancai, as a unique art emerging from the Tang Dynasty, is a unique flower in the history of Chinese ceramics, with a vivid cultural gene, and is known as an "encyclopedia" of the Tang Dynasty society, and a mirror reflecting the intermingling of Hu and Han cultures in the Tang Dynasty. The raw materials, production and aesthetic style of Tang Sancai were all influenced by the intermingling of Hu and Han cultures to varying degrees, and contained distinctive marks of exchange and interaction between the Hu and Han peoples, which provided the driving force for the formation of its artistic style representing the meteorology of the Tang Dynasty. This paper focuses on the study of the application of Tang Sancai art under the influence of the intermingling of Hu-Han cultures, firstly by collecting, organizing and summarizing various books and documents, and then by using history, archaeology and design to cross-analyze the research. In terms of content arrangement, firstly, the historical history of the intermingling of Hu and Han cultures is explored, and the process of intermingling is analyzed; secondly, the reasons for the spread and interaction of Hu and Han cultures during the Tang Dynasty are analyzed, and the specific expressions in terms of social customs and arts and crafts are discussed; and then an overview of the Tang Sancai is given, including the development, craftsmanship, and decoration, and the expressions of the influence of the intermingling of Hu and Han cultures in the Tang Sancai are explored.

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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.

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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.

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Chen, Hongming. "Imagination and Reality: Analysis of Reasons of the Existence of Bias Against Xiongnu in Han Shu." Communications in Humanities Research 28, no. 1 (April 19, 2024): 31–36. http://dx.doi.org/10.54254/2753-7064/28/20230033.

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The Han dynasty was an imperial dynasty in Chinese history that had been interacted with the Xiongnu (), a nomadic tribal confederation which was mainly active in the northwest region near Hans boundaries in Eurasian continent, for four hundred years. Han Shu () is a historical record that comprehensively documents Han history, and Han Shu's recordings of the Xiongnu have been an essential source for Xiongnu studies. However, though there are concise and concrete facts and descriptions in the text of Han Shu, given the nationality of the author, Ban Gu (), bias that come from the imagination of Xiongnu that Han had and the reality of Han Dynasty inevitably exists in the text. Therefore, a deeper understanding of Xiongnu might be required for Han because of interactions and corporations happened between those two opposing nations. This paper will discuss the reasons for the existence of bias based on the text of Han Shu and attribute the bias to the imagination that Han people had of Xiongnu due to the geographical separation created by natural mountains and villages, and to the reality that Han interacted with Xiongnu in both peaceful and unpeaceful ways which led to complex feelings.

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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.

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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.

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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.

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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.

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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.

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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).

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Obrusanszky, Borbala. "Some Questions on the Beidi Huns." Journal of Frontier Studies 5, no. 3 (September 21, 2020): 116–35. http://dx.doi.org/10.46539/jfs.v5i3.141.

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Because of a fierce battle among crown princes of the Huns, the great Hunnic Empire was divided into two parts in 53 BC, when two brother, Huhanye [呼韓邪] and Zhizhi [郅支] fought for the throne of the Huns. The southern part led by Huhanye was submitted to the Han-dynasty. The northern part remained independent for a while, while the southern part, under the guidance of Huhanye Shanyu, concluded an agreement with the Han dynasty. The Huns received a wide ranging autonomy inside the Chinese Empire. A new situation emerged when the Han Empire weakened, from the second half of the 2nd century onward, and, instead of the elected emperors, eunuchs, and later on several warlords, who served the Han dynasty, acquired the main power, took control over certain territories of the former Han dynasty, and gradually created independent kingdoms. The Southern Huns were not able to achieve their independence from the Chinese Empire, because the great warlord Cao Cao [曹操] occupied a big part of the Empire, which contained the territory of the Huns. Right that period [3rd century CE], one significant portion of the Huns – the Beidi Huns – lived in the eastern part of Yellow River, today Shanxi province. The Jin shu chronicle [an official Chinese historical text covering the history of the Jin dynasty from 265 to 420] includes a summary account of their life and short history. I present some important details of that account.

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Yu, Liang, Hiroshi Nakamura, and Yasuko Koga. "Review of lamps of the Chinese Han Dynasty." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 76, Appendix (1992): 31–32. http://dx.doi.org/10.2150/jieij1980.76.appendix_31.

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Nickel, Lukas. "Some Han Dynasty Paintings in the British Museum." Artibus Asiae 60, no. 1 (2000): 59. http://dx.doi.org/10.2307/3249940.

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Loewe, Michael. "The Han Dynasty Tomb at Ta-pao-t'ai." Early China 13 (1988): 288–89. http://dx.doi.org/10.1017/s0362502800005307.

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Shaw, Vivien, and Amy K. Mclennan. "Was acupuncture developed by Han Dynasty Chinese anatomists?" Anatomical Record 299, no. 5 (April 14, 2016): 643–59. http://dx.doi.org/10.1002/ar.23325.

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Guo, Shuyun. "Symbols and Function of the Zhang Clan Han Army Sacrificial Rite." Religions 10, no. 2 (February 1, 2019): 90. http://dx.doi.org/10.3390/rel10020090.

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The Eight Banners System is the social organizational structure of the bannerman (qiren, 旗人) from the Qing dynasty and the fundamental system of the country under Qing rule. It is divided into three types: the Manchu Eight Banners, Mongolian Eight Banners, and Han Army Eight Banners. The Han Army was a special group in the Qing dynasty between the bannerman and the commoners (minren, 民人). The sacrificial rite of the Han Army is a form of comprehensive shamanic ritual based on the traditional ancestor worship of the Han people. However, it is influenced, to some extent, by the shamanic ritual of the Manchus involving trance-dance. It finally took shape as a unique sacrificial form different from both the Manchu shamanic rite and the traditional ancestor worship of the Han minren. As a special system of symbolic rituals, the Han qiren’s sacrificial form embodies shamanic concepts and serves two functions: (1) dispelling evil and bringing in good fortune for the community; and (2) unifying the Han bannermen’s clans and strengthening the culture, identity, and tradition of the Han people, who were living under Manchu rule during the Qing dynasty.

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Liu, Yiwen, Ruiyi Shen, and Jinyu Weng. "The Research on the Portrait Sculpture from Ancient Rome and Han Dynasty." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 140–48. http://dx.doi.org/10.54097/ehss.v5i.2894.

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Han Dynasty and the Roman Republic are two prosperous reigns that established huge differences between the content, material, form, and aesthetic preference in sculptural art. Even though many scholars have researched both Han Dynasty and Roman sculptures, not much comparison research has been done yet. In this paper, the study closely examines and compares the artistic style of portrait sculptures from both the Roman Republic and the Han Dynasty to explore the possible cultural and historical reasons for the differences. This paper takes the Head of a Roman Patrician and the Ceramic Figure of a Story-teller as research objects, which come from a similar time period and represent a particular population in relative societies, and according to the results of the study, most portrait sculptures from the Roman Republic represented a specific person, especially higher-class senior citizens or political leaders. Han dynasty portrait sculptures include a variety of objective groups, from ordinary people to the royal class. The difference between economical-geographic conditions leads to the discrepancy between social production mode and philosophical concept, which further cause the various expression of portrait sculpture art. Roman portrait sculpture continues the realistic style of Greek sculpture due to the need for nominatives, whereas Han sculptures emphasize charm and verve instead of specific, realistic features.

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Lee, Jeongbin. "Pirate Zhang Bolu and East Asian International Situation in 2nd Century." Paek-San Society 125 (April 30, 2023): 27–55. http://dx.doi.org/10.52557/tpsh.2023.125.27.

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This study examined the East Asian international situation during the 2nd century, by focusing on the Yellow Sea pirate, Zhang Bolu, and explored the historical significance of his pirate activities. In March 111, Buyeo attacked Lelang Commandery of Later Han Dynasty while Goguryeo attacked Xuantu Commandery of Later Han Dynasty. Both countries mobilized their national forces and the kings themselves participated in the attack. It is highly likely that both countries mutually agreed on attacking Later Han Dynasty. Liaodong-Yemaek in Suzihe river basin joined Goguryeo, and Eupru which was subordinated to Buyeo also supported Buyeo too. In March 111, anti-Later Han forces rapidly expanded around the Northeast Asian countries. This study focused on Pirate Zhang Bolu for such international situations. The Zhang Bolu forces grew through marine activities around Hebei and Shandong provinces. In 109 to 110, the forces grew their power around Shandong and surrounding regions. The Zhang Bolu forces also claimed them as an independent kingdom. In April 110, however, they left Shandong Peninsula and moved to southern Liaodong Peninsula because they were unable to withstand the attack of Later Han Dynasty. Nevertheless, the Zhang Bolu forces continued attacking southern Liaodong Peninsula and eastern Shandong Peninsula by centering on Miaodao Islands and Changshan Islands until the first half of 111. The maritime activities of Zhang Bolu forces blocked the direct transportation between Liaodong Commandery, Lelang Commandery, and Xuantu Commandery with the Later Han Dynasty from 109 to the first half of 111. The military forces of Liaodong Commandery were mobilized to fight against the Zhang Bolu forces while Lelang Commandery and Xuantu Commandery were isolated. In March 111, Buyeo and Goguryeo attacked Later Han Dynasty and it is considered that such attack was associated with the maritime activities of the Zhang Bolu forces. In April 111, Later Han suppressed the Zhang Bolu forces. The Later Han Dynasty organized Liaodong Commandery, Lelang Commandery, and Xuantu Commandery and Buyeo and Goguryeo established an amicable relationship with Later Han again. This shows that the international relations of Buyeo and Goguryeo, which were formerly anti- Later Han countries, were associated with rise and fall of the Zhang Bolu forces. The Shandong Peninsula, Liaodong Peninsula, and northwestern Korean Peninsula were connected with Myodo-Jangsan Coastal Routes in the early stage. Han Dynasty installed Liaodong Commandery, followed by Lelang Commandery to expand negotiation and trade. As a result, Myodo-Jangsan Coastal Routes were built and operated as marine routes for general uses and surrounding regions developed with commerce and fishery. However, people were often overwhelmed because acts and taxes were forcedly imposed by centering on inland agricultural society. So, people living in the islands and sea left their lands. The several examples of pirates during 1st century to 3rd century show the independence of the sea world in contrary to the land forces. The Zhang Bolu forces during the 2nd century were associated with the East Asian international situation by reflecting the growth of Myodo-Jangsan Coastal Routes. This implies the historical significance of the Zhang Bolu forces in the sea world.

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Zhang, Yichen. "Aesthetic study of decorative art in Xiaoxian, Anhui." Highlights in Art and Design 1, no. 3 (January 2, 2023): 135–37. http://dx.doi.org/10.54097/hiaad.v1i3.4149.

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Xiao County, Anhui Province, contains rich content, profound meaning, exquisite carving techniques. It is an outstanding representative and cultural and art treasure of China's culture and art. It is a decorative stone mural carved in the underground tomb and cemetery ancestral halls. It is the perfect combination of painting and carving, and also the comprehensive embodiment of the folk art in the Han Dynasty. This paper briefly expounds the origin and development of Han stone in Xiao County, Anhui, discusses the cultural spirit connotation of Han Dynasty, excavates the aesthetic art contained in Han stone in Xiao County, Anhui, and reflects the artistic expression of Han stone in Xiao County, Anhui.

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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.

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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.

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Guo, Qinghua. "Tomb Architecture of Dynastic China: Old and New Questions." Architectural History 47 (2004): 1–24. http://dx.doi.org/10.1017/s0066622x00001672.

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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.

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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.

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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.

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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.

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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.

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Lu, Min, and Huamin Wang. "The Night Banquet of Han Xizai in the Perspective of Socio-Historical Criticism." International Journal of Education and Humanities 13, no. 3 (April 24, 2024): 177–81. http://dx.doi.org/10.54097/4x09kn38.

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The purpose of this article is to explore in depth the historical background, iconographic content, and its historical value and significance of Han Xizai's Night Banquet through the perspective of socio-historical criticism. The article firstly analyzes the socio-historical situation of the Five Dynasties period, especially the political and cultural background of the Southern Tang Dynasty, as well as the association between Han Xizai and the Southern Tang Dynasty royal family. Secondly, it provides a detailed pictorial interpretation of Han Xizai's Night Banquet in terms of its picture content and scene arrangement, character image and costume props, artistic style and presentation method. Finally, the historical value and significance of the painting are discussed. Han Xizai's Night Banquet not only reflects the social and political background of the Five Dynasties and Ten Kingdoms period, but also reveals the relationship between Han Xizai and the royal family of the Southern Tang Dynasty. With its fine brushwork style and unique narrative technique, the painting shows the prosperity of the court culture and the luxury of aristocratic life in the Southern Tang Dynasty. At the same time, the painting also has important value in art history, painting technique, cultural relics and collection history. As a precious historical document, The Night Banquet of Han Xizai not only helps to enrich our understanding of ancient history, but also enhances our appreciation of ancient art, and has certain reference value for historical and artistic research.

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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.

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Erickson, Susan N. "The Shield-Shaped Jade Pendant." Archives of Asian Art 68, no. 2 (October 1, 2018): 157–90. http://dx.doi.org/10.1215/00666637-7162237.

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Abstract Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant's origin as a Han-dynasty artifact and to explore its significance.

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홍 기 표. "Review on 'Han cheon, Jeju lpdojo of Cheongju Han Clan' in the End of the Koryeo Dynasty and Early Chosun Dynasty." 탐라문화 ll, no. 55 (June 2017): 7–44. http://dx.doi.org/10.35221/tamla.2017..55.001.

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48

Ren, Fengli. "The Chinese History of Translation in the Framework of Cultural Communication." Journal of Education and Educational Research 4, no. 3 (August 20, 2023): 178–81. http://dx.doi.org/10.54097/jeer.v4i3.11406.

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Understandings and beliefs about translation activities related to a culture constitute the "translation view" of the culture in a specific historical period. And the history of translation is the intercultural practice of culture and the history of intercultural human communication. In the early history of translation, the translation view of the mainstream culture strengthened the image of the cultural center of the Han group including Confuses’ canons. By the end of the Eastern Han Dynasty, due to political corruption, people felt disappointed, depressed and helpless in real life and turned to Buddhism for spiritual shelter. Since then, the translation of Buddhist scriptures has been popular. At the end of Ming Dynasty and the beginning of Qing Dynasty, western translation of science and technology emerged, and introduced western spiritual and institutional culture, and new vitality into the development of Han culture.

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吉田文子, 吉田文子. "漢朝民間歌謠之修辭技巧." 語文與國際研究期刊 28, no. 28 (December 2022): 053–68. http://dx.doi.org/10.53106/181147172022120028004.

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樂府詩之起源為民間流傳歌謠，初期樂府歌辭皆是為了配樂吟唱而作。因此漢朝樂府歌辭中除了音樂符號等特色外，亦多呈現各種修辭技巧，例如：疊字、疊句、對偶、頂真、排比、層遞等。此些修辭技巧共同特色為形式與意義上的「重疊反覆」，在歌辭中亦蘊含著獨特的節奏感。其中的「頂真格」即如接龍遊戲，「對偶」則上下對照相似兩句，作者從研究中認為這兩項修辭技巧在配樂而吟唱的樂府詩中扮演重要的角色。據此，本文研究範圍為「鼓吹曲辭」、「相和歌辭」中的漢朝民歌，探討其中獨特的修辭技巧。主要針對民歌中的「頂真格」在釀造節奏感的作用中對詩意產生的影響，以及在六朝時期已普遍化的「對偶」在漢朝民歌中又曾是如何的角色，這兩大部分進行分析與探討。  Yue-fu poetry originated from folk songs, and most of the early days of Yue-fu poetry were accompanied by music. For this reason, not only musical symbols can be seen in the lyrics of Yue-fu poetry in the Han Dynasty, but also various rhetoric are frequently used. These rhetoric have in common that they repeat in form and meaning with a slight change in font and content, creating a unique rhythm in the lyrics. Among them, the ding-zhen that resembles Japanese word chain game and the antithesis that contrasts two similar phrases play an important role in characterizing Yue-fu poetry as a song. This paper study the characteristic rhetoric of folk songs in the Han dynasty, which are found in "Gu-chui quci" and "Xiang-he geci". The second chapter explores the effect of the ding-zhen on poetry, and the third chapter explores aspects of the antithesis.

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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.

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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.

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Journal articles on the topic 'HAN-DYNASTY'

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