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1
Meyer, Alicia. "Sovereignty at Bridewell Palace: Gender in the Architectural Designs of Hans Holbein the Younger." Explorations in Renaissance Culture 46, no. 1 (June 24, 2020): 17–29. http://dx.doi.org/10.1163/23526963-04601005.
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This essay examines the representation of gender and sovereignty in a little examined design for a royal fireplace created by Hans Holbein the Younger during the reign of Henry viii. When Henry sought to divorce Catherine and to establish the Church of England, the Bridewell precinct became a site for political upheaval. As Holinshed’s Chronicle details and William Shakespeare and John Fletcher’s 1613 All Is True or Henry viii would later dramatize, Bridewell and the neighboring Blackfriars staged the divorce trial and removal of Catherine’s sovereignty as Queen. By examining Holbein’s design that Bridewell palace became a palimpsest upon which the crown continually cultivated its dynastic desires –desires that Holbein’s design prove to be imbricated with questions of gender and sovereignty. Gender, sex, and reproduction are central to Holbein’s representation of the Tudor dynasty. Yet, alongside this gendered discourse is a legal one. Holbein depicts the law and justice as mechanisms which can redefine a sovereign woman’s subjectivity and curb her agency in submission to her King and husband. Thus, from Holbein’s fireplace emerges an ideology of familial dynasty and imperial aspirations built atop the legal subjection of women.
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Kiss, László. "A „negyedizigleni” orvos – Selye János felvidéki gyökerei." Orvosi Hetilap 157, no. 33 (August 2016): 1331–33. http://dx.doi.org/10.1556/650.2016.30544.
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Hans Selye regarded himself as the fourth generation of medical dynasty, but in his books he did not name his ancestors. Based on facts from archives and contemporary literature the author demonstrated that the grandfather of Hans Selye was called Schlesinger and he worked in Pruszka (county Trencsén; (today: Pruské, county Trenčín, Slovakia) as a district physician. Orv. Hetil., 2016, 157(33), 1331–1333.
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Lohr, Eric. "Russian Economic Nationalism during the First World War: Moscow Merchants and Commercial Diasporas." Nationalities Papers 31, no. 4 (December 2003): 471–84. http://dx.doi.org/10.1080/0090599032000152924.
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While accounts of the end of the Ottoman and Hapsburg empires have often stressed the rise of Turkish and German nationalisms, narratives of the Romanov collapse have generally not portrayed Russian nationalism as a key factor. In fact, scholars have either stressed the weaknesses of Russian national identity in the populace or the generally pragmatic approach of the government, which, as Hans Rogger classically phrased it, “opposed all autonomous expressions of nationalism, including the Russian.” In essence, many have argued, the regime was too conservative to embrace Russian nationalism, and it most often “subordinated all forms of the concept of nationalism to the categories of dynasty and empire.”
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Hutchinson, Ben. "The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric." Comparative Critical Studies 17, no. 2 (June 2020): 303–17. http://dx.doi.org/10.3366/ccs.2020.0364.
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The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.
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Lim, Ki Hwan. "A Study on Agreement by Chunchu Kim and the Emperor Taizong of Tang Dynasty and ‘Iltong-Samhan(Unification Three Hans)’." Critical Review of History 131 (May 31, 2020): 248–78. http://dx.doi.org/10.38080/crh.2020.05.131.248.
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Zamboni, Alice. "Making contact." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (November 16, 2020): 62–95. http://dx.doi.org/10.1163/22145966-07001005.
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This article explores the intersection between friendship and artistic collaboration through a focus on the engraving production of a group of itinerant Netherlandish artists who, in the wake of the Dutch Revolt, lived and worked in Munich, seat of the court of Wilhlem V. The first part of this contribution introduces Joris Hoefnagel, several printmakers from the Sadeler dynasty and other artists active in Munich. An analysis of the artistic gifts which the Netherlanders exchanged in Munich suggests that they enjoyed membership of an egalitarian circle sustained by friendship and artistic aspirations. The second half of the article examines the engraved series Salus Generis Humani (1590): the co-creation of Joris Hoefnagel, Aegidius II Sadeler and Hans von Aachen. Through a collaborative working practice, the three artists conceived engravings that self-reflectively alluded to their composite facture and which constituted another expression of the humanist friendship underpinning their professional and personal contacts.
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Golas, Peter J. "Christine Moll-Murata, Song Jianze and Hans Ulrich Vogel (eds.), Chinese Handicraft Regulations of the Qing Dynasty. München: IUDICUM Verlag, 2005, 559 pp." East Asian Science, Technology, and Medicine 27, no. 1 (July 5, 2007): 173–75. http://dx.doi.org/10.1163/26669323-02701008.
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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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<p>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。</p> <p> </p><p>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.</p> <p> </p>
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王(wang), 莎(sha). "两汉艺术观念的融通性研究." Culture and the World Review 2, no. 1 (May 30, 2021): 57–83. http://dx.doi.org/10.18327/cwr.2021.5.2.1.57.
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Vojvodic, Dragan. "From the horizontal to the vertical genealogical image of the Nemanjic dynasty." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 295–312. http://dx.doi.org/10.2298/zrvi0744295v.
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Sometime in the XIV century, towards the end of the second or beginning of the third decade, the 'horizontal genealogical image' of the Serbian rulers gave way to a new depiction of their genealogy. We find the earliest surviving Nemanjic family tree, painted in a vertically arranged composition in the narthex of Gracanica, followed by those in Pec, Decani, Mateic and Studenica. The appearance of the new type of image presenting the Serbian dynastic genealogy was, on the one hand, due to the problems caused by the ever lengthening series of rulers' portraits. They led to the deformation of the thematic programmes and did not correspond to the dynamic spirit of 'Palaeologan renaissance' art. On the other hand, from the mid-XIII century there was a obvious intention to link the idea of a 'chosen people' and the genealogy of Christ with the Nemanjic dynasty. This process unfolded simultaneously in literature, royal charters and visual art. It was facilitated by the fact that presentations of Christ's genealogy - the Tree of Jesse - were introduced in the programmes of Serbian churches from the second half of the XIII century. A correspondence had already been established between the presentations of Christ's genealogy and the portraits of the Nemanjic family included in the broader thematic ensembles inspired by dynastic ideology, in Sopocani and, subsequently, in Moraca, Arilje and the King's Church in Studenica. Even in the description of the family tree of the Serbian dynasty itself, the notions of 'pious lineage', 'the holy root', 'the branch of good fruit', 'the blessed shoots' etc. were used in the written sources. In this way, a process gradually matured along the path towards creating a dynastic picture of the house of Nemanjic that was iconographically coordinated to the Tree of Jesse. However, the 'vertical' family tree of the Nemanjici was not a simple transposition of the 'horizontal genealogy' into the structure of the new iconographic scheme. It is possible to notice significant contextual differences between the two types of the Serbian dynastic picture, especially regarding the presentation of the rulers' wives or the rulers' daughters, or male relatives from the lateral branches. A number of questions that had earlier been of particular importance, such as the order of succession to the throne through the direct bloodline, became submerged in a multitude of new messages and slowly lost significance. The 'vertical' family tree of the Nemanjici focused far more on the proclamation of general dynastic messages. As a more developed and complex picture than the 'horizontal' genealogy, it was able to convey more carefully nuanced details about what effect dynastic history had on the awareness of the court. Apart from that, in contrast to the presentations of XIII century 'horizontal genealogies' that illustrated Nemanja and his direct successors as monks, the new type of dynastic picture quite clearly stressed the 'imperial' nature of the ruler's family. A similar change of meaning can also be noted in contemporaneous royal charters. One should view this interesting phenomenon through the prism of the increasingly tangible influences of Byzantine imperial ideology on Serbian dynastic thought. The distinct influence of Byzantine perceptions can also be recognized in the motive of the ruler's investiture being performed by God himself, depicted at the top of the Nemanjic family tree. Therefore, the new Serbian genealogical picture reflected much more clearly than its predecessor, the Byzantine teachings about power, which blended the 'dynastic principle' with dogma regarding the providential election of the ruler. In later monuments, where a composite family tree was depicted, linking the Nemanjic dynasty to the Byzantine and the Bulgarian royal families (Mateic, and perhaps even Studenica), the concept of the 'new Israel' was redefined in Serbian imperial ideology, according to the universalistic views adopted from Byzantium. Although all the essential iconographic details of dynastic genealogy in the form of the family tree were of Byzantine origin, no credible testimonies were found in scientific research that the theme itself was designed in artistic form in Byzantium. Hence, one cannot exclude the possibility that the Nemanjic family tree was an authentic, iconographic creation devised in Serbia. With the necessary caution, here, we should stress that the Serbian environment was quite singular because it had a long lasting and, moreover sacred dynasty. For that reason it was particularly absorbed in dynastic issues and the idea of 'a new chosen people'. That environment traveled the path to a 'vertical' dynastic picture slowly, following the evolutionary logic of its own culture and art.
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Romli, Lili, and Efriza Efriza. "Single candidate and the dynamics of 2020 Indonesian Simultaneous Election: A perspective on internal contestation." Politik Indonesia: Indonesian Political Science Review 6, no. 3 (December 20, 2021): 265–88. http://dx.doi.org/10.15294/ipsr.v6i2.31439.
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This paper describes the development of local-level democracy in implementing the 2020 Regional Head Simultaneously related to a single candidate and dynastic politics. In this research, we found that the phenomenon of single candidates and political dynasties, which shows the climate of democracy at the local level, is increasingly unhealthy. Indonesia is experiencing democratic backsliding. Political dynasties and single candidates have, of course, hurt democracy. Regional Head is no longer an effective means of participation and competition as a condition for the running of democracy. Regional Head also did not produce elite circulation. On the other hand, the oligarchy is a node on a political dynasty and local bossism. The theoretical perspectives used in the research to explain single candidates and political dynasties are democracy, election, oligarchy, and local bossism.
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UDA, M., S. SASSA, T. YOSHIOKA, K. TANIGUCHI, S. NOMURA, S. YOSHIMURA, J. KONDO, M. NAKAMURA, NASRY ISKANDAR, and BAHAA ZAGHLOUL. "X-RAY ANALYSIS OF PIGMENTS ON ANCIENT EGYPTIAN MONUMENTS." International Journal of PIXE 09, no. 03n04 (January 1999): 441–51. http://dx.doi.org/10.1142/s0129083599000553.
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Ancient pigments were analyzed using PIXE and XRD methods in the laboratory, which were painted on ancient Egyptian monuments. On the other hand, those on monuments remaining with entire shape were investigated using the hand-held type of an XRF spectrometer and an X-ray diffractometer in the field. For the laboratory experiment, several wall fragments of the Malqata palace in ancient Egypt (18th Dynasty, ca. 1390 B.C.) were investigated. In the field experiment, the block of Ramesses II (19th Dynasty, ca. 1270 B.C.), the Wooden Coffin of Neb-sny (18th Dynasty, ca. 1400 B.C.), the Funerary Stele of Amenemhat (11th Dynasty, ca. 2000 B.C.), and the painted walls of the Tomb of Userhat (18th Dynasty, ca. 1400 B.C.) were investigated. From white and blue colored parts, huntite and Egyptian blue were found, respectively, which are a very rare mineral and an artificial pigment prepared only in ancient Egypt, respectively.
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高莉芬, 高莉芬. "生與化：漢畫西王母圖像系統中的蟾蜍及其魂魄觀." 中正漢學研究 33, no. 33 (June 2019): 001–28. http://dx.doi.org/10.53106/2306036020190600330001.
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<p>西王母的崇拜與信仰自漢代流傳至今而不絕，影響深遠，二十世紀以來，因漢畫像的出土發現，西王母圖像大量出現在漢代墓室祠堂中，這些考古材料又重新活化漢代西王母的研究。今考漢畫像西王母圖像系統，並非以單一主神出現，其空間語境多配以不同的輔助圖像。本文研究主要以漢畫像西王母仙境圖為探討範圍，以漢畫像西王母仙境圖中「必要圖像」蟾蜍為研究對象，並旁及「月中蟾」的討論﹔以見漢畫像中西王母與蟾蜍的配置關係，及漢代西王母的神格功能與象徵。歷來研究者多由「不死藥」連結蟾蜍與月亮、乃至於西王母的關係；而西王母在漢代墓室中其執掌又與靈魂的轉化再生有關，對漢畫像西王母仙境圖中蟾蜍圖像之考察，不死，是共同的焦點。此與古代漢人生死觀、魂魄觀有密切的關係，值得進一步梳理探討。</p> <p> </p><p>The worship and belief of the Queen Mother of the West（Xi Wang Mu） have been circulated and influenced since the Han Dynasty. Since the 20th century, due to the excavation of the portraits of the Han Dynasty, the images of the Xi Wang Mu appeared in the portraits of the tombs of the Han Dynasty. These archaeological materials undoubtedly reactivated the study of the Queen Mother of the West（Xi Wang Mu）of the Han Dynasty. In the Han Dynasty portrait stone, the image does not appear as a single main god, and its spatial context is often accompanied by different auxiliary images. This thesis mainly focuses on the West Queen Motherland of the Han Dynasty, and takes the "necessary image" the toad in the West Queen Motherland as the research object, and next to the discussion of " the toad in the moon ", to see the relationship between The Queen Mother of the West（Xi Wang Mu） and the toad in Han stone engraving, and The function and symbol of the goddess of The Queen Mother of the West. Traditional scholars have always been associated with the moon and even the Western Queen by "immortal medicine"; but the Western Queen Mother（Xi Wang Mu）is the chain of souls in the tomb of the Han Dynasty. It is a common focus on the image of the tomb in the Han Tomb. This is closely related to the ancient Han people’s outlook on life and death, and it is worth further exploration to sort out the relationship.</p> <p> </p>
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Wilker, Julia. "Noble Death and Dynasty: A Popular Tradition from the Hasmonean Period in Josephus." Journal for the Study of Judaism 48, no. 1 (February 14, 2017): 69–91. http://dx.doi.org/10.1163/15700631-12341136.
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The First Book of Maccabees ends its historical narrative with the murder of Simon at the hands of his son-in-law, Ptolemy. Flavius Josephus offers a more elaborate narrative of the same event. According to his account, Ptolemy took Simon’s wife and two of his sons as hostages and tormented them when John Hyrcanus besieged him in the fortress of Doq. Josephus praises Simon’s wife for taking a heroic stance and stresses her willingness to die for the dynasty. A close analysis of the story suggests that Josephus drew on a popular tradition that emerged shortly after the historical events and adopted stylistic and narratological elements commonly associated with martyrdom stories. The story thus offers insights into dynastic representation in the early Hasmonean period and indicates that the wife of Simon played a prominent role in the propaganda and self-fashioning of the new ruling house.
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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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Kang, Min-kyeong. "The Recognition of “Goryeodogyeong” from the late Goryeo Dynasty to the early Joseon Dynasty’s intellectuals." Bukak History Academy 17 (January 30, 2023): 41–66. http://dx.doi.org/10.37288/bukak.2023.17.2.41.
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Goryeodogyeong is a book recognized for its value as a major historical source of research during the Goryeo dynasty. As such, it can be thought that people have widely read and used Goryeodogyeong since old times. However, the perception of Goryeodogyeong by intellectuals in the late Goryeo dynasty and early Joseon dynasty was very different from now. First of all, it is very rare to directly cite or mention the Goryeodokyeong. In most cases, it stays in re-authentication or simply mentions the name and author. This phenomenon means that even though the dynasty was replaced, the nature of the social culture shared by intellectuals did not change significantly.
However, at the same time, there is a strange difference in the attitude toward Goryeodogyeong in the late Goryeo dynasty and the early Joseon dynasty. In the late Goryeo dynasty, Goryeodogyeong was mainly used to find forgotten facts or quote them in poetry. But, in the early Joseon dynasty, Goryeodogyeong was cited as a historical source to explain the history of the old dynasty and critically reviewed in the sentence. In the attitude toward the book called Goryeodogyeong, the continuity and disconnection of intellectual society in the late Goryeo dynasty and the early Joseon dynasty are shown at the same time.
On the one hand, this fact suggests that Goryeodogyeong was not widely distributed through engraving or manuscript in the late Goryeo dynasty and early Joseon dynasty. According to the records, the existence of the Goryeo dynasty edition of the Goryeodogyeong, which is different from the current Goryeodogyeong, is confirmed. However, it was not known exactly until now whether there was a Goryeo version of Goryeodokyeong.
If the Goryeo version of Goryeodogyeong existed, it is most likely that the engraving was published after correction based on the Song dynasty version introduced from Yuan in the mid-14th century. However, even if it existed, it seems to have disappeared soon after it was not widely distributed. This means that unlike after the 18th century, the demand for Goryeodogyeong was not high among intellectuals at that time.
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Mortel, Richard T. "Zaydi Shiʿism and the Ḥasanid Sharifs of Mecca." International Journal of Middle East Studies 19, no. 4 (November 1987): 455–72. http://dx.doi.org/10.1017/s0020743800056518.
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The sharifs of Hasanid descent, commonly referred to as the Banū Hasan, who ruled Mecca and its dependencies from the middle of the fourth century A.H./tenth century A.D. until the early twentieth century, can be divided into three major dynastic branches, each of which bears the name of the first of its members to attain the office of emir of Mecca. Thus, the first dynasty of the Hasanid sharifs of Mecca, known as the Jaʿfarids, was founded by Jaʿfar b. Muhammad b. al-Husayn al-Amīr, a descendant in the ninth generation of al-Hasan b. ʿAlī b. Abī Ṭālib, in about the year 357/968, shortly before the conquest of Egypt for the Fatimids of North Africa by their general, Jawhar, in 358/969. Control of Mecca remained in the hands of the Jaʿfarids until the last representative of the line, Shukr b. Abī'l-Futūḥ, died without leaving a male heir in 453/ 1061.
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Kim, Hyung-ho. "Ming·Ching dynasty reference document in 『星湖僿說』, and Their Meanings." Han Mun Hak Bo 41 (December 31, 2019): 203–39. http://dx.doi.org/10.35496/han.41.8.
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Khan, Sahil Ali, and Mohammad Arif Kamal. "ANALYSIS OF DOMES IN TOMB ARCHITECTURE OF DELHI: EVOLUTION AND GEOMETRICAL TRANSITION." Journal of Islamic Architecture 7, no. 1 (June 28, 2022): 95–103. http://dx.doi.org/10.18860/jia.v7i1.13499.
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The dome is a vital element and a prominent building feature in Islamic Architecture. This paper analyzes the geometrical and philosophical approach to the transition of two types of domes, i.e., square and octagonal base domes. The timeline and region selected for the work are from the 1420s to 1630s of the Indian subcontinent. During the period, it covers three dynasties: Sayyid Dynasty, Lodi Dynasty, and Mughal Dynasty, and their change of approach toward the shapes of domes according to the needs and availability of construction techniques at hand and other factors. Based on the comparison of the domes of four buildings, the evolution of domes and their need for transition is to be presented in this work.
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McMahon, Keith. "Women Rulers in Imperial China." Nan Nü 15, no. 2 (2013): 179–218. http://dx.doi.org/10.1163/15685268-0152p0001.
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“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.
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Dalimunthe, Latifa Annum. "ANALISIS KAJIAN KEMUNDURAN DAN KERUNTUHAN DINASTI FATHIMIYAH (SEBUAH STUDI PUSTAKA)." NALAR: Jurnal Peradaban dan Pemikiran Islam 1, no. 1 (July 29, 2017): 59. http://dx.doi.org/10.23971/njppi.v1i1.902.
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<p><em>The Fathimiyah caliphate, one of the Ismaili Shi'ite Islamic dynasties, in 909 AD in North Africa after defeating the Aghlabiah Dynasty in Sijilmasa. In history, the glory of Fathimiyah dynasty includes the system of government, philosophy, science and literature. After the reign of the caliph Al-Aziz Fathimiyah dynasty began to decline until the collapse. Problem formulation: How the formation of Fathimiyah dynasty. How to advance the civilization of the Fathimiyah Dynasty? How the decline and collapse of the Fathimiyah dynasty.</em></p><p><em>Research Methodology: The research process is done by taking literature study from literarure, books. To discuss the results of research done by linking descriptions of literature, and books.</em></p><p><em>The results show that: The founder of the Fathimiyah Dynasty was Sa'id ibn Husayn. At the end of the 9th century AD, Abu Abdullah al-Husayn al-Shi'i, one of the main propagandists of the Shiite leader of Isma'iliah, was from Yemen son of the Berber tribe in North Africa, as the main envoy of Imam Mahdi and managed to influence the Berber community. Ziyadatullah al-Aghlabi 903-909 M (Aghlabiah dynasty) is in power in North Africa centered in Sijilmasa. Having succeeded in establishing his influence in North Africa, Abu Abdullah Al-Husain wrote a letter to the Ismaili Imam, Sa'id bin Husain As-Salamiyah to leave immediately for Utar Africa. In 909 AD Sa'id proclaimed himself a priest with the title Ubaidullah Al-Mahdi. In history, the glory of Fathimiyah dynasty includes the system of government, philosophy, social conditions, scholarship and literature. The decline and disintegration of the Fathimiyah Dynasty, the caliph Fathimiyah initially controlled all activities, but among the caliphs there were those who handed the supervisory duties to the amir, because the age of the caliph was underage and did not even understand the political world. For example, after Al-Aziz died, Abu Ali Al-Mansur was eleven years old appointed to replace him with the title of Al-Hakim. The final period of the Fathimiyah Dynasty rivalry for the post of prime minister is increasingly widespread, such as Syawar with Dhargam. End of Nuruddin Mahmud's entry to help him reclaim his power from the hands of Dhargam. Al-Adhid, the last Fathimiyah caliph passed away 10 Muharram 567 H / 1171 M. then the Fatimid dynasty was destroyed after reigning for about 280 years, then Saladin holds the Caliphate.</em></p>Keywords: dynasty, fathimiyah
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Trường, Lê Quang. "CẢM THỨC CỦA NGUYỄN DU VỀ TRUNG QUỐC THANH TRIỀU TRONG BẮC HÀNH TẠP LỤC." Dalat University Journal of Science 11, no. 2 (April 25, 2021): 43. http://dx.doi.org/10.37569/dalatuniversity.11.2.839(2021).
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Nguyen Du (1765-1820), with courtesy name To Nhu, poetic name Thanh Hien, and other pseudonym Hong Son Liep Ho, was born into the noble Nguyen clan of Tien Dien village in central Vietnam. Many of his family members served in high positions in the imperial mandarin system of the Le-Trinh dynasty. Inheriting honors from his father, Nguyen Du was bestowed the titles: Hoang Tin Great Man, Guard Commandant of Origin, and Thu Nhac Count. Therefore, deep within his conscience, Nguyen Du always felt indebted to the Le dynasty. However, the rapid replacement of the Le-Trinh by the Tay Son and then by the Nguyen dynasty during the chaotic years of the eighteen century seriously challenged his beliefs and emotions, pushing him into a reclusive lifestyle during his reluctant service to the Nguyen dynasty. In the 12th year of Gia Long (1813), Nguyen Du was appointed the mission leader on a yearly tribute trip to China, during which he wrote a collection of poetry titled “Bac hanh tap luc” (Trivial Notes on the Northward Trip). His “trivial notes” revealed his complicated thinking and feelings about the Chinese landscape, people and culture under the rule of the Jiaqing emperor. This article analyzes Nguyen Du’s rational and emotional perceptions of China, especially Chinese culture as implied in “Bac hanh tap luc”, to better understand a case of direct interaction of a Vietnamese Confucian scholar with imperial China.
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Shin, Sang-phil. "Culture and figures of Yeongnam region in the early Joseon Dynasty through handwriting(筆記)." Han Mun Hak Bo 45 (December 31, 2021): 145–72. http://dx.doi.org/10.35496/han.45.5.
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Shin, Seung-bok. "The rules of ransom regarding the officials’ crime in the Late Le Dynasty: a focus on the comparison with the rules of Early Joseon dynasty (15th centuries)." Institute of History and Culture Hankuk University of Foreign Studies 84 (November 30, 2022): 217–42. http://dx.doi.org/10.18347/hufshis.2022.84.217.
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The ransom system was implemented out of consideration for the socially disadvantaged, and it was also implemented to give preferential treatment to officials or to improve administrative efficiency. Both the Late Le Dynasty of Vietnam and the Joseon Dynasty of Korea implemented the ransom system by reflecting the punishment system.
The following features can be seen through the comparison of the rules of ransom between the Late Le Dynasty of Vietnam and the Joseon Dynasty of Korea, where the most notable are the punishment rules.
In the Quoc Trieu Hinh Luat (The National Penal Code), all officials could be exempted from punishment by paying ransom in cases of offenses due to negligence, excepting serious crime like the 10 evil sins. According to the rules regulating the ransom in Joseon Dynasty, in addition to the high-ranking officials, the rules permitted ransom payment for (a) the official candidates after being discovered to have received preferential treatment and (b) the technical low-ranking officials for other offences, because they were integral parts of the bureaucratic system which made their replacement extremely difficult (i.e., affecting the administrative efficiency). So, the rules of ransom facilitated this kind of punishment instead of the formal punishment.
In the Quoc Trieu Hinh Luat (The National Penal Code), officials could be exempted from not only the physical punishment (the 5 punishments) but also from the personnel relegation and the punishment of writing some words on the body if they settled the ransom. In the punishment rules of Joseon Dynasty only the high-ranked officials could be exempted from physical punishment (the 5 punishments). In the Late Le Dynasty, these rules were derived from the development of the money economy, which in turn conditioned the exemption to be made by paying money, but in the Joseon Dynasty, however, the rules stated that fabric must be used for the ransom.
In terms of the amount paid for the ransom, in Late Le Dynasty, it was proportional to the officials’ rank and the severity of the punishment. This was different in the Joseon Dynasty because regardless of the high or low bureaucratic rank they should pay the same ransom in same punishment level and the amount was reduced depending on the social and economic situation.
The rules of ransom in the Late Le Dynasty, in my opinion, which required the high-ranking officials to pay proportional ransom to be exempted from punishment, were more effective to some extent to prevent administrative crimes. On the other hand, I think the rules of ransom in the Early Joseon Dynasty favoured high-ranking officials and brought efficiency in administration by permitting the payment of ransom for low-ranking or technical officials, but overall the effect of preventing crime was weak.
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Park, Jin-Sung. "A Study on descriptive features of Middle Class Intellectuals Autobiographical Literature in the Late Chosun Dynasty." Han Mun Hak Bo 42 (June 30, 2020): 103–38. http://dx.doi.org/10.35496/han.42.5.
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Spencer, Paul. "The Loonkidongi prophets and the Maasai: protection racket or incipient state?" Africa 61, no. 3 (July 1991): 334–42. http://dx.doi.org/10.2307/1160028.
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AbstractThe Maasai are widely assumed to be a highly egalitarian society whose past success in dominating their neighbours owed much to the advice of their Prophets (loibonok, ‘laibons’). This article examines the practice of divination and prophecy in relation to the reputation of and the beliefs surrounding the principal family of, Maasai Prophets, the Loonkidongi. Undermining the egalitarian ideal, which is shared by the Maasai themselves, the Loonkidongi are shown to have been accepted as an elite. Throughout the twentieth century they have continued to dominate the Maasai in initiating and controlling sorcery, giving protection on the one hand and fostering the belief in Maasai vulnerability on the other. Living apart from other Maasai, with more wives and larger herds, with their own dynasty and dynastic feuding, with their penetrating mystical powers and networks of influence, the Loonkidongi have the symbolic trappings of a superior class of rulers. From this point of view the Maasai are not egalitarian, but are the clients of a protection racket that in pre-colonial times amounted to an incipient state. Today the Prophets continue to wield influence and are accorded more power popularly than elsewhere in eastern Africa, where surviving traditional rulers have been subordinated to the imposed state apparatus of colonial and post-colonial government.
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Kang, Jeong-hwa. "A Short View Regarding the Appearance of Jirisan Mountain Hiking Records in the Early Joseon Dynasty Period." Han Mun Hak Bo 45 (December 31, 2021): 79–104. http://dx.doi.org/10.35496/han.45.3.
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Kim, Chi Hyoun. "Consideration over the Places of Jeonbyeol (餞別) in Hanyang for Envoying to Peking during Chosun Dynasty." Han Mun Hak Bo 38 (June 30, 2018): 3–28. http://dx.doi.org/10.35496/han.38.1.
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Han, Ruihui. "Jin Ping Mei: A Story of Guanxi." Folklore: Electronic Journal of Folklore 85 (April 2022): 7–34. http://dx.doi.org/10.7592/fejf2022.85.han.
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No fiction is without a narrative of human relationships. In Chinese literary history, the stories represented by Jin Ping Mei are especially seen as dealing with human relationships. Some researchers have interpreted Jin Ping Mei from the perspective of human relationships; however, the generic concept cannot describe social connections in Chinese culture. The concept of guanxi, the ubiquitous and quotidian social network in China, better describes the specific human relationships in this fiction. Guanxi as a Chinese cultural phenomenon originating from Confucianism is effective in procuring resources through instrumental and sentimental mechanisms. In Jin Ping Mei, which is centered on Ximen Qing, a guanxi network connects all the characters. Ximen Qing’s fortune is built on guanxi manipulation. Guanxi, however, which was expected to embody Confucian values, violated Confucian principles in the late Ming context. Jin Ping Mei marks a turning point for attitudes toward guanxi in literary representation, and this derogatory attitude persisted in the narrative of fiction throughout the Qing dynasty.
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McCaskie, T. C. "KonnurokusΣm: Kinship and Family in the History of the Oyoko KɔKɔɔ Dynasty of Kumase." Journal of African History 36, no. 3 (November 1995): 357–89. http://dx.doi.org/10.1017/s0021853700034460.
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This paper is concerned with a vitally significant – but hitherto largely unrecovered – feature of the pre-colonial African past. Historians of Africa commonly pay conventional lip service to the idea that the structural and affective dimensions of kinship are of great, and even shaping, importance in the past of many of the societies that they study. However, such acknowledgements remain in the realm of generalization, and hardly any scholarship exists that seeks to historicize kinship in any detail. This paper tries to redress this situation. It goes beyond synchronic ethnographic commonplaces, and offers a historically documented analysis and interpretation of the operation of kinship within a specific pre-colonial context.The subject matter is the West African forest kingdom of Asante (Ashanti), now located within the Republic of Ghana. In specific terms, the paper addresses the structural characteristics and the interpersonal dynamics of kinship within the history of the Kumase Oyoko KɔKɔɔ abusua (the ruling dynasty of Asante) between, very broadly, the 1760s and the 1880s. The discussion is centred on the evolving history of relations between individuals – most centrally the Asantehene Kwaku Dua Panin and the Asantehemaa Afua Sapon – within a particular ɔyafunu koro (uterine group or stirp; ‘family’) that was a componential part of the royal dynasty. The core of the paper is an analytic reading of the konnurokusΣm, a complex dynastic conflict that involved the individuals named and that occurred in the 1850s.In sum, this paper argues that the reconstruction and analysis of the field of kinship relations within African societies – such as the example of pre-colonial Asante discussed here – places an extremely important, if hitherto neglected, tool in the hands of historians. The interpretation of events, the understanding of actions and motives, and the overall deepening of comprehension are all enriched by the use of this tool. The enrichment thereby attained – it is argued – pays appropriate and overdue attention to specifically indigenous readings of the Asante (and African) past.
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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.
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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.
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Jin, Jae-Kyo. "Continuity and Disruption of Chinese Literature in the Late Joseon Dynasty: Middle Classes Inside and Outside the Country." Han Mun Hak Bo 47 (December 31, 2022): 5–42. http://dx.doi.org/10.35496/han.47.1.
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Manan, Nuraini A. "Dinasti Fatimiyah Di Mesir (909-1172): Kajian Pembentukan dan Perkembangannya." Jurnal Adabiya 19, no. 2 (July 21, 2020): 125. http://dx.doi.org/10.22373/adabiya.v19i2.7512.
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The discussion of the Fatimid Dynasty was an interesting discussion, because the controversy caused by the dynasty was enough to stir the Islamic world. Some author said this kingdom has a great contribution to introduce Muslims to science, because they build the University of al-Azhar. On the other hand, this kingdom is said to be an intolerant extremist kingdom, suppressing Sunni Muslims or Ahlussunnah wal Jamaah. The history of the kingdom filled with oppression, deceit, and deviation from the teachings of Islam is also another side that needs to be raised and discussed. Before discussing the political power of the Fatimid dynasty, we first discuss the ideology of this kingdom, because this is the underlying political movement. Fatimid dynasty was a Shiite-ideological kingdom, more precisely the Ismailis. Isma’ili Shi’ah is a Shi’ite sect who believes that Ismail bin Ja’far is the seventh priest, as for the majority of Shia (Shi’a Itsna Asyriyah) believes that Musah bin Ja’fa was the seventh imam after Ja’far ash-Sadiq. The differences in this subject matter then evolved into other doctrinal principles that increasingly distinguished Ismaili Shiite teachings from mainstream Shiite, Shiite Asna Asyriyah, so this teaching became a separate sect. Ismailis have beliefs that deviate far from the teachings and creeds of Islam. Like other Shiite sects, Isma’ilis Shiites also believe that priests are awake from sinful deeds, they are perfect figures, and there is no gap at all
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Terekhova, Maria A. "Social Status of Widows in Qing Dynasty." Oriental Courier, no. 1-2 (2021): 161. http://dx.doi.org/10.18254/s268684310015728-8.
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The chastity cult in Qing China caused a striking ambiguity of widows’ status. They were praised and honored. Widow’s status became a symbol of the elite when a woman had enough financial freedom to protect her virtue and not to remarry. Their lives were described in the biographies and local gazetteers as Confucian legends about dignity. But no political agenda could mitigate the bitterness and hardships of a woman who lost her husband in the imperial times. The article analyzes the bilateral nature of widowhood in the Qing dynasty: governmental proclamations, juridical formulations, and widows’ biographies written by gentry, on the one hand, and women’s inner perception of chastity that we read between the lines in the legal documents. How did the concept of fidelity glorified in the law relate to real-life practices? The paper summarizes that state politics and the law often contradicted reality that detracted from women’s internal sense of morality and women’s personal meaning-making the chastity cult in Qing China.
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Kim, Youme. "The Impact of Korean Ambassadors’ Encounters with Qing Entertainments, Focusing on Lantern Festivals, Fireworks, Plays, and Theater Facilities." Journal of Korean Studies 22, no. 1 (March 1, 2017): 197–226. http://dx.doi.org/10.1215/21581665-4153376.
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Abstract This study examines how Chosŏn Korean ambassadors’ encounters with Qing entertainment impacted their views of the Qing dynasty in China based on their travel accounts written during the eighteenth and early nineteenth centuries. During diplomatic trips as ambassadors, select Chosŏn literati were able to experience new and exotic forms of foreign culture. This article focuses on Qing entertainments, including fireworks, lantern festivals, and plays, and related aspects such as theater facilities, that captured the attention of the traveling ambassadors. Through direct experience with Qing entertainments, traveling Chosŏn dignitaries gained first hand experience of Qing commercial and technological development. Some of these witnesses came to the realization that the Qing had become a successful ruling dynasty, which dismantled previously held assumptions by most Chosŏn literati that the Manchus were barbaric and uncultivated.
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Ahn, Y. S., and E. H. Lee. "The Comparison between Calculation Methods on the Solar Position in the Chiljeongsan Naepion and Chiljeongsan Oepion." Key Engineering Materials 277-279 (January 2005): 824–30. http://dx.doi.org/10.4028/www.scientific.net/kem.277-279.824.
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The Chiljeongsan Naepion (七政算內篇) and the Chiljeongsan Oepion (七政算外篇), landmark achievements in the field of astronomical calendars in Korea, were published in the 26th year (1444 A.D.) of the reign of King Sejong (世宗, 1418-1450 A.D.) of the Choseon(朝鮮) dynasty, firmly establishing the calendar making system of Choseon. The Chiljeongsan Naepion adopts the conventions of the Shoushi calendar (授時曆) of the Yuan (元) dynasty (1280-1367 A.D.) of China, but also consults the Datong calendar (大統曆) and the modified Datong-li Tongkue (大統曆通軌), published during the Ming(明) dynasty (1368-1643 A.D.) of China. Furthermore, the Chiljeongsan Naepion corrects errors in the referred Chinese calendars and adds calculations of sunrise and sunset at the latitude of Seoul. On the other hand, the Chiljeongsan Oepion adopts the conventions of the Huihui calendar (回回曆) of Arabia translated and edited by the Arabian astronomer Mashayihei (馬沙亦黑) [1] in China. The Huihui calendar uses an Islamic theory of epicycles for its treatment of lunar and planetary motions. This means that aspects of the Ptolemaic system had been introduced into the Korean astronomy in the 15th century The calendar of the Choseon dynasty was made by the method of Chiljeongsan Naepion, but the calculations of solar and lunar eclipses and five planet’s positions are compared to those of the Chiljeongsan Oepion. In this paper, we discussed mainly the differences of the calculation methods of the solar positions in both calendars.
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Yi, In-bok. "Kim Woo-ong′s The awareness of Yuan-dynasty's history and 『Xuzizhitongjiamgangmu』(『續資治通鑑綱目』)." Korean Society of the History of Historiography 45 (June 30, 2022): 55–96. http://dx.doi.org/10.29186/kjhh.2022.45.55.
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In the early Joseon Dynasty, the influence o f Wondae NeoConfucianism introduced at the end of the Goryeo Dynasty, the situationoriented Hwaigwan held by intellectuals at the end of the Goryeo Dynasty, and the Yuan Dynasty was recognized and positively evaluated. In Seongjongdae, there was a tendency to emphasize the legitimacy of the Confucianism of Namsongdae, and Hoanguk's Chunchuho Clan Exhibition began to attract attention. The race-oriented white crown and orthodox theory, represented by Namsongdae Juhee and Hoanguk, spread to intellectuals through King Seongjong and Jungjongdae, and based on this, Chinese history accounts such as Kim Woo-ong's Sokgangmok and Jeong-gu's History began to appear. Among them, Kim Woo-ong's Sokgangmok was compiled based on the orthodox theory, pointing out that Sang-ro's Gangmok sequel, which was mainly used as a textbook for Songwonsa Temple, was orthodox, and that the history of the Yuan Dynasty was not orthodox.
Kim Woo-ong criticized the fact that Sang-ro's Gangmoksokpyeon does not conform to the ritual of the runner, and edited Sokgangmok. As the Yuan Dynasty, which was recognized as orthodox in the Gangmoksokpyeon, was not recognized as orthodox in Sokgangmok, much of the history of the Yuan Dynasty, which corresponds to Volume 12, was calculated. Sokgangmok did not recognize the legitimacy of the circle, so it was from 1293 The records until 1368 were recorded in small letters, and the national title and myoho were written, but the name of the county were written instead of the name of the county, revealing that the circle was painless. In addition to the basic sympathy of the Yuan Dynasty, such as the emperor and high-ranking government officials, the rebellion of Jaein and Wonmal was recorded in detail, emphasizing the instability of the reign because Won was not orthodox.
Kim Woo-ong began the compilation of Sokgangmok in November 1591 (the 24th year of King Seonjo's reign), and completed Sokgangmok in March 1595 (the 28th year of King Seonjo's reign). However, Sokgangmok was not published for a long time after its completion and remained an abstract. In 1771, Sokgangmok was printed, and in 1808(8th year of King Sunjo), Kim Han-dong corrected the errors in the draft of Sokgangmok and published it as a woodblock. Lee Hang-ro paid attention to Sokgangmok, which does not recognize the tradition of Won, and compiled Hwagangmok, focusing on Yujunggyo and Kim Pyeongmuk. Although "Hwagangmok" did not recognize the circle as orthodox, "Sokgangmok" emphasized the distinction of Hwai and the pain of the circle by strictly revising the part that does not fit Ju-hee's "Gangmok" narrative without acknowledged the circle as orthodox.
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Ren, Tian Qi, Kai Fang, and Shi Hong Zhang. "Study on Influence to the Ceramic Glaze Color of Environmental-Friendly Pottery Brick by Low-Carbon Catalytic Combustion Furnace of Natural Gas." Advanced Materials Research 1088 (February 2015): 706–10. http://dx.doi.org/10.4028/www.scientific.net/amr.1088.706.
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This experiment consists of two parts. On the one hand is about the concentration of Variation of exhaust gas when heated potteries .On the other hand is about the compared between the potteries (Tang Dynasty) heated by natural gas catalytic combustion furnace and the traditional firing of the glaze. The potteries fired by catalytic combustion furnace could be used for decorating are not only more fine and glossy than the traditional, but also more translucent. Therefore, the potteries made by catalytic combustion furnace will be applied in decoration industries, such as decorative murals.
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Kim, Hara. "Aspects of Reading Romance of the Western Chamber in the Late Joseon Dynasty and its Meaning: Focused on Yu Man-ju’s Heumyeong." Han Mun Hak Bo 47 (December 31, 2022): 67–105. http://dx.doi.org/10.35496/han.47.3.
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Li, Qiang, Bin Li, and Xiao Ming Yang. "Study on the Hand Spinning Wheel in a Copy of the Mural Painting Collected by Mr. Liu Xianzhou." Advanced Materials Research 282-283 (July 2011): 497–504. http://dx.doi.org/10.4028/www.scientific.net/amr.282-283.497.
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Many scholars have too much ignored the studies on the hand spinning wheel in ancient China, they drew some wrong conclusions based primarily on the hand spinning wheel in a copy of the mural painting collected by Mr. Liu Xianzhou. We aim to explain the history of hand spinning wheel in ancient China objectively. We made a complete investigation on the image information on the hand spinning wheel from the art works of the Han Dynasty, at the same time we analyzed referenced materials about the hand spinning wheel in ancient China. It is concluded that the mural painting itself is a counterfeit, and the process of shape changes of the hand spinning wheels in ancient China experienced three stages: the finger spinning wheel rotated by the spokes, the crank spinning wheel rotated by the spokes, the hand spinning cord wheel.
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Yusuf, Maulana. "Dunia Islam Abad 19: Penetrasi Kolonial Barat." Al-Risalah 11, no. 01 (December 1, 2018): 110. http://dx.doi.org/10.30631/al-risalah.v11i01.478.
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The world of Islam in Umayyah and Abbasiyyah Dynasties was in the hand of a single leader, however since the 10th century raised a new development by the presence of new leaders who was appointed by Khalifah as the vice leader in some Islamic worlds who were finally became the independent leader. Also, there were some leaders who against the Abbasiyah Khalifah and declared themselves as the conquers of Islamic worlds, such as Umayyah Dynasty in Spain, Fatimiah Dynasty in the North Africa, and the establishments of three well‐known kingdoms: Turki Usmani, Safawi, and Mughal in India with its own glory and victory. Unfortunately, the victory of Islam began to lose its glow in the 19th century when the Islamic world was politically collapse and became worse as accordance with the raise of west from the Dark Ages into light which supports freedom and science that contrast with the Islamic world in colonialism
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Yu, Yeong-Chun. "Structure of iron furnaces during the Joseon Dynasty in Jeollabuk-do and the background of the construction of iron-producing site." Central Institute of Cultural Heritage 38 (June 30, 2022): 63–98. http://dx.doi.org/10.20292/jcich.2022.38.63.
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Of the 250 iron-producing sites distributed in the jeollabuk-do, 9 were from the Joseon Dynasty. Various remains such as smelting furnace, forging furnace, and waste place were investigated through excavation and investigation in the seasonal relics of the Joseon Dynasty. Among them, the smelting furnace is estimated to have a similar planar shape to a rectangular shape with rounded corners, and secondly, there is one discharge port on one long wall with a low terrain and about 19 small wind holes on one side of the long wall. In general, there are wind holes in the long wall opposite the discharge hole for the efficiency of the work. These melting furnaces are a type of so-called “box type furnace” and have similarities such as the planar shape and the presence of small-diameter wind holes from those of Japan, but their structures are generally different. This is intensively distributed in the southern part of the Korean Peninsula, including Chungju and Asan, and in particular, in the case of jeollabuk-do, all the smelting roads of the Joseon Dynasty surveyed so far are box type furnaces, so they are local. The produced iron is Bloomery iron, and it is highly likely that not only sand iron but also iron ore (titanium iron ore) was used as the raw material. It is believed that forging furnace was responsible for the function of refining and training-forging, which improved the quality of iron and made the tissue more dense than molding that produced the finished product. In particular, it is highly likely that it is Refining-forging, as there is a large amount of slag inside Okgye-dong Danya-ro, Namwon.
On the other hand, referring to the literature records related to iron production, some of the 250 iron production sites distributed in Jeollabuk-do are believed to have been created and operated according to the iron tax receiving system and social changes during the Joseon Dynasty. In the early Joseon Dynasty, it is thought to be deeply related to the operation of cheolso and cheoljang(steel mills), and in the case of cheoljang, it is deeply related to the Cheoljangdohoe System, which took effect in the 7th year of King Taejong(1407). In the 18th year of King Seongjong (1487), as the Cheoljangdohoe System was abolished and Gakeupchenap system(each town arrears system) was implemented, production seems to have continued around iron reserves in jeollabuk-do. In the late Joseon Dynasty, as mining development and market revitalized, private production increased, and it is estimated that "hiding and producing” was prevalent when high taxes were imposed by the government to control this. The excavated iron production sites are believed to be deeply related to private production as their operation period is concentrated in the late Joseon Dynasty. In particular, considering that most of them were built in deep valleys, it is estimated that they were created by “hiding and producing”.
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Lee, Gil-Hwan, and Young-Geon Kim. "A study on the aspect of enjoyment of Jeongi novels in the late Joseon Dynasty -Fouced on the Chinese Manuscript of the Unyeong-jeon-." Han Mun Hak Bo 46 (June 30, 2022): 165–225. http://dx.doi.org/10.35496/han.46.5.
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Hakimian, Hassan. "Wage Labor And Migration: Persian Workers in Southern Russia, 1880–1914." International Journal of Middle East Studies 17, no. 4 (November 1985): 443–62. http://dx.doi.org/10.1017/s0020743800029421.
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It is common knowledge of Iranian history that at the turn of the present century iran was undergoing important social transformations. A notable feature of this period that witnessed the rising movement for constitutional reforms was a heightening of social tensions and contradictions in a traditional society that had now become subject to potent forces of change from within and without. The disintegration of the political power of the Qajar dynasty went hand in hand with an accelerating trend of economic decline, while the social fabric of the country at large was unraveled by a growing tendency for outbursts of massive social agitation and popular unrest.
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Jin, Jae-Kyo. "The vertical order of the late Joseon Dynasty and the public forum for academics and literature-in relation to the generation and distribution of knowledge-." Han Mun Hak Bo 45 (December 31, 2021): 301–46. http://dx.doi.org/10.35496/han.45.9.
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Wang, Xiaodong, and Gang Chen. "The Analysis of the Basic Types and Specific Characteristics of the Qinba Mountain Village Landscape along the Shu Road in the Late Qing Dynasty Based on IOT." Mobile Information Systems 2022 (August 29, 2022): 1–9. http://dx.doi.org/10.1155/2022/4837886.
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The Internet of Things is a huge system that collects and transmits real-time information. The smart space location is a part of IOT that collects location information, and on the other hand, it is an important tool to analyze the internal relationship of information and help users better understand its laws. As an integral part of the geographical landscape, human settlement environments have the main characteristics of both physical and cultural geography. The human settlement environments in the area along the Shu Road in the late Qing Dynasty (1840–1912) have important historical and geographical features. The main route of the Road to Sichuan takes the basic pattern of “Four in the north and three in the south,” with extensive coverage and overflow range; its complex landform brings diverse climate types and vastly different scenery as there are many factors related to the three cultural regions of Guanzhong, Qinba, and Shudi involved. In the application of the Internet of Things in geography, through high-frequency active monitoring, the situation changes can be grasped in a timely manner, the law of changes and trends can be discovered, and the geographic information of mountain village landforms can be provided to the public in a timely manner. Based on Ferdinand von Richthofen: Tagebücher aus China and Hand Drawing of China: Record of the History of Chinese Architecture in Japan, by retrospective restoration, on-site investigation, comprehensive application of relevant theories, and methods in historical geography, architectural typology, art phenomenology, and aesthetics, this study attempted to reasonably divide, scientifically classify, thoroughly analyze, extract the characteristics from, and improve the culture of the village landscapes in the Qinba Mountains along the Shu Road in the late Qing Dynasty from the perspectives including the size types and site relationship, building types and form structures, construction materials and decorative arts, general style, and aesthetic characteristics. It intends to revitalize the culture of village landscapes in the Qinba Mountains along the Shu Road in the late Qing Dynasty.
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Anh, Nguyên Thê. "The Vietnamese Monarchy under French Colonial Rule 1884–1945." Modern Asian Studies 19, no. 1 (February 1985): 147–62. http://dx.doi.org/10.1017/s0026749x0001458x.
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In the epilogue to his memoirs, Bao-Dai, the last sovereign of the Nguyên Dynasty, wrote:In ancient Vietnamese society, the social system is embodied in the person of the emperor, through whom everything religious is done, down to the lowest village level. But, if he sanctifies this act by prescribing or controlling it, he does not assume it. On the contrary, the Vietnamese ideal is that of a sovereign wise enough to reign without stirring, ‘with his hands hanging and his clothes loose…’.
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Gao, Zhi Yong. "A Research on Early Spread of Traditional Hand-Made Paper in East Asia Countries." Advanced Materials Research 174 (December 2010): 537–40. http://dx.doi.org/10.4028/www.scientific.net/amr.174.537.
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Lots of unearthed objects and historical documents indicate the paper-making technology which had been invented in Western Han Dynasty moved to Japan through the Korean peninsula. This paper took the development of paper-making technology and how it spread to the major countries of East Asia as a clue to find out evidence of the early transmission of traditional handmade paper from the ancient literature, archaeological materials, research papers, and museum collections. Literature studies, field inspections and the traditional ways of recovery process were the main methods we used. After collecting and studying the materials, we drew the outline of the general picture of traditional handmade paper transmitting in the major countries of East Asia, and made a discussion about the relevant issues on the condition that the traditional handmade paper how to adapt to the geographical variation and the printing technology.
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Bi, Zhicheng. "THE EVOLUTION OF THE FORMS OF SHANDONG PROVINCE'S STONE RELIEFS COMPOSITION OF THE HAN ERA." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 19–28. http://dx.doi.org/10.17223/22220836/42/2.
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The stone reliefs of the Han era (206 BC – 220 AD) are a special type of funerary art with its own specific set of plots and art forms. Shandong Province takes the first place in China in terms of number of founding relief images. The peculiarity of the compositional construction of the Han's reliefs is that it isn’t based on the spatial principle of image transmission, but on the plastic-planar pictorial principle of a two-dimensional composition, which, with its thoughtful use, can carry the maximum emotional charge [Moshkov, Kuznetsov 1994]. Based on that, author’s own typology of the compositions of Han reliefs was built. Article the object of the study are stone reliefs of the Han Dynasty, Shandong Province, represented on stone sarcophagi, in stone tombs, temples of ancestors and steles, and passed the past two stages of its heyday. The purpose and objective of the study is to identify and study the laws of evolution of the composition of the stone reliefs of the Han Dynasty, Shandong Province, based on V.M. Moshkova’s principles of composition, using systemic and iconological research methods. Images on the stone reliefs of the Han tombs are distinguished by the peculiarity of the forms of compositional constructions, the process of development and evolution of which occurs in accordance with certain laws. As a result of the study, it was revealed that the starting point for the development of relief compositions of stone sarcophagi were two forms – symmetrical and nested (including several levels following the outlines and forms of stone material), which during the heyday of the Western Han Dynasty supplemented the “V”-shaped composition. Their further development is associated with the use of dispersed, zoned, irregular composition techniques, which spread around in turn of the CE. At the same time, a variety of compositional forms is also observed in the reliefs of tombs, temples of ancestors and stelae, in the reliefs of which during the period of the Eastern Han (25–220 CE) many different forms of compositional organization appear: for example, asymmetric, segmented, shingles wrong etc. The composition of combinations of geometric shapes, consisting, as a rule, of squares and circles, is also distributed. A variety of compositional forms is associated, on the one hand, with the complication of the architecture of burial structures and an increase in their scale. On the other hand, with the enrichment of the content and plots of reliefs, which is becoming more diverse and includes not only the image of Confucian’s symbols, but also narratives that reflect episodes from the lives of those buried. This indicates not only the process of improving art forms during the Han era, but also reflects a certain evolution of religious and philosophical thought, changes that took place in this period in the social structure of ancient Chinese society, and also, possibly, some external influences on the development of Chinese art.
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Lee, Hong-shik. "Exploring the desires of Sadaebu(士大夫) who were projected in the yeolnyeojeon in the late Joseon Dynasty-Focusing on ParkJeoljeon by Park Yun-won, Geunjae-." Han Mun Hak Bo 45 (December 31, 2021): 347–75. http://dx.doi.org/10.35496/han.45.10.
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