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1
Sin, Kwok-wah Genious, and 冼國華. "Genteel families of the Southern Dynasties." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31685195.
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Cheung, Shin-yee, and 張倩儀. "A study of the tomb murals depicting the ascent to paradise during the Wei, Jin, Northern-and-Southern dynasties =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38301362.
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Tseng, Chin-Yin. "The making of the Tuoba Northern Wei : constructing material cultural expressions in the Northern Wei Pingcheng Period (398-494 CE)." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:3b22b971-660c-4c0b-bdbd-ad7ea29e6c26.
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The Tuoba's success in the making of the Northern Wei as a conquest dynasty in fifth century northern China will be argued in this thesis as a result of their ability to cross between the traditions and practices of the Chinese sphere and those of the Eurasian steppe, through the construction of a "dual presence" in the Pingcheng period (398-494 CE). A negotiation of material culture in this formative phase of state-building allowed for new notions of kingship, dynastic identity, and representations of daily life to be (re)created. This was manifested separately through the application of mountain-side stone sculptures, tomb repertoires, as well as the conception of Pingcheng as a capital city. The material cultural expressions explored in this thesis reflect significant changes in the socio-cultural atmosphere at this point in history. In effect, these ritual, funerary, and commemorative discourses wove together to create new notions of "Chineseness" in fifth century northern China. In the following discussion, we will come to recognize the Tuoba’s maintenance of a "dual presence", not only as "Son of Heaven" to the conquered subjects, but also carrying over practices that befit a Khagan in the Central Asian tradition, as an act of ingenuity.
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Cheung, Shin-yee. "A study of the tomb murals depicting the ascent to paradise during the Wei, Jin, Northern-and-Southern dynasties Wei Jin Nan bei chao "sheng tian tu" yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B38301362.
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簡漢乾. "兩晉南北朝南北文化文流的途徑及其對文學的影響 = A study of cultural exchanges of the southern and northern culture during the two Jin, and the Southern and Northern dynastics and their influence in literature." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1370.
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Yip, Wing-hang Eric, and 葉永恆. "從洛陽伽藍記硏究北魏後期(A.D. 493-534)的政治, 社會, 經濟與佛敎." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B13192140.
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Lin, Wei. "The Buddhist Caves at Qixiashan, China (Southern Dynasties, 420-589 CE)." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1181919094.
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Eisenberg, Andrew. "Retired emperorship and the politics of succession in the northern dynasties of China: 386-581 /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/10336.
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Strange, Mark. "The construction of Zi zhi tong jian's imperial vision : Sima Guang on the Southern and Northern Dynasties." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d9c6addc-e9a5-47f5-b199-e30ec09f961b.
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The great drama of China has been the repeated attempts to bring under single control and preserve the unity of its vast territories, so varied ethnically, socially, and geographically. Han Chinese confidence in the integrity of their own identity has been lastingly unsettled by long periods of fragmentation into regional states, and even in times of political unity the heart-searching has continued: what went wrong? What lessons could be learned for the future? The Southern and Northern Dynasties’ era (317-589 AD) was the longest period of political fragmentation in the imperial era. Its political and social confusion gave rise to differences in later accounts of it. In the eleventh century, scholar-officials intensively debated the issue of imperial rule during this period. At stake was the integrity of the Han Chinese state. On one side were historians who accorded legitimacy to the barbarian dynasties of the north; on the other were those who favoured the southern Han Chinese-ruled dynasties. By the time Song’s power base transferred south in 1127, a strong sense of a Han Chinese identity had developed and pro-Southern opinion predominated. This study approaches the Southern and Northern Dynasties’s era indirectly. It examines it through the most prominent work of eleventh-century historiography, the keystone written history of early imperial China, Sima Guang’s 司馬光 Zi zhi tong jian 資治通鑑 – the main focus of this study. That text has played a central role in shaping later understanding of imperial China’s political traditions and, as a corollary, has contributed to the formation of a Han Chinese self-identity. Yet Sima Guang’s representation of China’s past, though well-researched and written, was inevitably coloured by personal political and social experiences, and by his current commitments – by spin, in fact. This study will argue that at the heart of Sima Guang’s representation of the Southern and Northern Dynasties was a concern for the political survival of the eleventh-century state under which he served. He needed to understand and explicate the political and moral lessons of the earlier period in order to present an imperial vision that would avoid its frailties. This study therefore investigates and demonstrates the previously unexplored extent to which contemporary political concerns informed Sima Guang’s account. By developing a reading of Zi zhi tong jian as an ideological and textual construct, and more than just a simple account of the past, this study affords insights into the composition of historical writing in imperial China, as well as the complexities of the political environment that spawned it. It shows that works of historiography like Zi zhi tong jian served a more nuanced function than later scholarship suggests, and it brings into focus important questions of historical and literary authority.
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Wang, Mei-Hsiu. "Cultural identities as reflected in the literature of the Northern and Southern dynasties period (4th-6th centuries A.D.)." Thesis, University of Leeds, 2007. http://etheses.whiterose.ac.uk/364/.
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During the period of the Northern and Southern dynasties of China identity questions became serious in a society thrown into disorder by political, religious and ethnic problems. This thesis uses three books written in the sixth century to discuss how educated Chinese faced identity problems and how they dealt with them. The Buddhist monk Huijiao, dealt with the problems of sinifying a foreign religion. He constructed many different identities in addition to the Buddhist one for the monks in his book Gaoseng zhuan, (Lives of Eminent Monks), a collection of biographies of Buddhist monks, to bring Buddhism closer to Chinese tradition and more acceptable by Confucian standards. Through the identity construction he also made responses to anti-Buddhist ideas. Yang Xuanzhi's Luoyang qielan ji, (Record of the Monasteries of Luoyang), deals with the identity problems of Chinese officials serving a Xianbei regime in the north and of the short-lived capital of the Northern Wei in Luoyang. Yang reconstructed a Chinese identity for the lost capital as a true heir of Chinese tradition, as were the emperors, princes and officials who lived there. He created an identity defined not by ethnicity but by culture. Yan Zhitui's Tanshi jiaxun, (Family Instruction of the Yan Clan), is a book which tells his descendants how to construct and maintain the future identity of his own family. He drew on his own experience of recovering from repeated political catastrophes to set out an identity that would help the family to survive disordered times and maintain their status in society.
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Chen, Lan, and 陈岚. "Lyric poems of the Southern dynasties' literati = 南朝 (420-589) 文人樂府研究." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45351521.
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Wang, Mengling Wang. "Yutai xinyong and the Practice of Anthologization in Early Medieval China." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1532054736983437.
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Zhu, Xiao Ling. "Northern Wei and Xiao Qi during the period of Emperor Xiaowen's four Southern expeditions." Thesis, University of Macau, 2016. http://umaclib3.umac.mo/record=b3537083.
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Sin, Kwok-wah Genious. "Genteel families of the Southern Dynasties with special reference to the Yanshi jiaxun = Cong "Yan shi jia xun" kan Nan Zhao shi zu de bian qian = /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31685195.
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唐梓彬. "任昉及詩文研究 = A study of Ren Fang's life and literary works." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1146.
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Sedlacek, Alexa R. C. "Strontium isotope stratigraphy and carbonate sedimentology of the latest Permian to Early Triassic in the western United States, northern Iran and southern China." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372971425.
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Chung, Ka-yin Gladys, and 鍾嘉賢. "Natural landscapes in the literary writings of the Eastern Jin (A.D. 316-420) and Liu Song (A.D. 420-479)Eras." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30085494.
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Dean, Lee, and 李登雅. "Something About Northern Southern Dynasties." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/07161385130786676732.
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Sun, Chung-chun, and 孫鍾鈞. "Buddhist Repentance Thoughts in the Southern and Northern Dynasties." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/27533425175286936113.
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碩士南華大學
宗教學研究所
101
Although the period of Chinese history known as the Southern and Northern dynasties was characterized by frequent political upheaval, it was also a time of vibrant cultural diversity and development. It was during this period that Buddhism first laid down deep roots in Chinese, one of the most conspicuous fruits of which was the repentance ritual. During the Eastern Jin dynasty the basic pattern of the Buddhist monastic community was laid down by Master Daoan in his Ten-chapter Vinaya, in which it is stated that the repentance thoughts is to be carried out on the customary observance days. (poṣadha) This stricture was widely adopted at the time, and continued to be observed during the Southern and Northern dynasties, a period in which monastics and laymen alike made detailed studies of the Vinaya, and it was in this religious milieu that the repentance thoughts took shape. During the Three Kingdoms period Zhi Qian translated several proto-Mahayana scriptures which cover repentance, including the Sanpin heiguo jing. Prior to, during, and following the Southern and Northern dynasties quite a few additional translations were made of texts which have a bearing on the concept of repentance, including the Da fangdeng tuoluoni jing, the Guan puxian pusa xingfa jing, the Guan xukongzang pusa jing, the Jinguangming jing, and the Shizhu piposha lun. All of these texts were widely disseminated and thus had an influence of the development of the repentance thoughts. The repentance thoughts of Chinese Buddhism has its origins in the poṣadha observance of early Buddhism. By the time of the Southern and Northern dynasties, large numbers of Mahayana scriptures had already been translated, resulting in a shift away from the simple repentance thoughts of early Buddhism, towards a more elaborate affair intended to effect the eradication of evil karma. As the form continued to take on more Mahayana elements, it began to be seen as a way of repenting in front of the buddhas of the ten directions for one’s evil deeds committed in one’s past lives. As the concept of repentance continued to develop it began to incorporate various Confucian ideas, such as zhaijie, shouguo, and zhaijiao, at which point the ritual had taken on a distinctively Chinese flavor. Amongst the distinctive forms which developed during the Southern and Northern dynasties are the busa fa, the lichen fa, the dasheng jingdian chanhui fa, and the wuhai fa. This long phase of continual development resulted in the production of a large body of related literature describing the rituals and the ideas on which they were based. During the subsequent Sui dynasty the Tiantai master Zhi Yi formulated his four repentance rituals based on the Mahayana scriptures, and these are the direct forerunners of the repentance rituals that have formed such an important element of Chinese Buddhism ever since. In this paper I focus on the origins and development of the repentance ritual in the Southern and Northern dynasties. After tracing the origins of the repentance ritual to early Indian Buddhism and early Mahayana Buddhism, I proceed to examine various records and documents which shed light on the nature and development of the repentance ritual during the Southern and Northern dynasties. I conclude with a categorization of the various types of repentance rituals which were current during the Southern and Northern dynasties. It is expected that the findings of this research will clarify the key factors which have played a role in the development of the repentance ritual of Chinese Buddhism, at the same time elucidating both how and why it’s practiced.
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Yi-Wang and 汪. 檍. "A Study of Ping Ji in Southern and Northern Dynasties." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/6trhkn.
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碩士國立臺北藝術大學
美術史研究所
100
A common furniture in Chinese material civilization, the earliest literature about ping ji was recorded in the Western Zhou Dynasty. A large number of archaeological materials were found during the Spring and Autumn period and the Warring States periods. In the Han dynasty, many archaeological objects such as paintings in tomb chambers and pictorial stone engravings tracing back to the Southern and Northern dynasties came to light. . The kings and literati in the Zhou dynasty used ping ji to rest their hands or to recline their bodies. The ping ji which they used had two feet, and came in a variety of shapes and functions. The two-footed ping ji underwent an improvement in the Three-Kingdom period, when ping ji with three feet were developed. The extra foot not only enhanced the stability and function of the ping ji, but also became an important object in the nobility’s daily lives. Ping ji gained religious status during the Southern and Northern dynasties when it was portrayed in Buddhist and Taoist paintings, and this was also when it developed its own religious significance in terms of iconology and cultural implications. Ping ji declined with the introduction of the chair in China, which became a popular type of furniture in the Tang dynasty, but the image of ping ji continued to exist and never disappeared. After a long period of cultural development, ping ji transformed practical functions in daily life into symbolic items which had deep cultural meanings and significant image iconology. This is the reason that ping ji always held a place in the development of Chinese civilization. Through this study, we can help to clarify this important process of ping ji transformation , as well as its influences and evolution in Chinese cultural history.
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Jen, Jau Iuan, and 趙元貞. "A Study on the Folk YueFu of Southern and Northern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/30872432848809213706.
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碩士高雄師範大學
國文學系
98
The folk YueFu of Southern and Northern Dynasties is a part of ballads. Many scholars focus on the folk YueFu of Southern Dynasties’ homonymic words, equivoques, and the images of South and North women but ignore some similarities repeated in the folk YueFu. Through studying those similarities sang by Southern and Northern Dynasties’ Youths, we can probe the meaning of custom and culture about Southern and Northern Dynasties. This paper starts at the original ceremony of poetry, music, and dance to emphasize YueFu’s public attribute. First, I focus on “carnival” and “loving custom” of Southern Dynasties’ YueFu. Second, I focus on “hero worship” and “promote marriage culture” of Northern Dynasties’ YueFu. Finally, in order to rebuild the life style of Southern and Northern Dynasties’ people, this paper illustrates the following details: diet, clothing, buildings, traffic, beliefs, and plays. Then, we could better understand custom and culture about Southern and Northern Dynasties via the folk YueFu.
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Lee, Rui Fen, and 李瑞芬. "The Trend of Xiequ during Wei, Jin, Southern and Northern Dynasties." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/j4h7e4.
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碩士國立臺灣大學
中國文學研究所
107
The objective of The Trend of Xiequ during Wei, Jin, Southern and Northern Dynasties is to explore the xiequ phenomenon during this era and its contributing factors. As the western humor theories is already well developed, they are able to provide much reference to the purpose of this dissertation. As such, this dissertation first provides an introduction to three major humor theories—the Superiority Theory, the Relief Theory and the Incongruity Theory. Of which, the Incongruity Theory provides the most holistic view on humor, it therefore serves as the main theoretical reference of this dissertation. The chapter regarding xiequ in Wen-Xin Diao Lung is the earliest Chinese theoretical analysis on xiequ. Liu Xie graded the three objectives of xiequ—admonishing, entertaining and mocking, in terms of their morality. However, there is another objective of xiequ which Liu Xie had not mentioned, that is adopting a conduct of ridiculosity to repel coveters. Among four purposes of xiequ, entertaining and mocking are most common. As for observing the trend of xiequ, this dissertation focuses on the literary essays of xiequ and situational dialogues respectively. For literary essays, the authors of the era introduced new content that no longer emphasized on format and propriety, into traditional genres that suggested otherwise. It was done so via imaginary characters and fanciful plots to lay criticism on current affairs. In the meantime, the authors also were more than willing to take on distasteful topics and techniques. They were almost too keen to disregard propriety and offend others. For situational dialogues, xiequ enhanced portrayal of personal tastes and social events. Xiequ was also evident in public opinion. Due to moral compulsion, the public opinion was usually shaped as brief comments or doggerels to mock certain people, events and phenomena. Xiequ with an admonishing purpose was in decline in this era. Xie An is the only exemplary figure in this regard. Xiequ where one adopting a conduct of ridiculosity reached pinnacle during the end of Wei and the beginning of Jin, in which Ruan Ji and Liu Ling of the Seven Sages of Bamboo Grove were the most iconic figures in this regard. Tao Yuan Ming from a later period no longer had the same intensity as Ruan and Liu. The popularity of xiequ during this era could mainly be attributed to the diminishing influence of Confucianism as the domineering zeitgeist and its position was taken over by Taoism. The concept of dualism in Taoism underscored various incongruity and contradiction, which coincided with the mechanism of xiequ. In the meantime, the era had seen the clashes between the true color of numerous usurpers and moral values. As such, many had diverted their service toward the country to their families and clans instead. The portrayal of one’s talents became the top life goal for many. The popularity of xiequ was heightened by the political and social climate, as well as the shift in zeitgeist, and thus a sublime trend of xiequ was formed during Wei, Jin, Southern and Northern Dynasties.
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林雅琪. "The Acceptance of Chu-Ci in Wei-Jin and Southern-Northern Dynasties." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/hbh3dv.
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博士國立高雄師範大學
國文學系
103
The Acceptance of Chu-Ci in Wei-Jin and Southern-Northern Dynasties Abstract The study of Chu-Ci during the period of Wei Jin and Southern-Northern Dynasties was deeply influenced by the politics, social environment, elite groups, and aesthetic trend during the time. It was also in this period, Sao and Fu were separated under the raising awareness of literature, and hence the independent literary status of Chu-Ci was established. During its dissemination, Chu-Ci was in-depth studied from different aspects, such as its annotation, phonology and the various categories. The absence of Chu-Ci studies in Han Dynasty was fulfilled by its following period—the Wei Jin and Southern-Northern Dynasties. Qu Yuan , who was recognized as a nobleman during the Wei Jin and Southern-Northern Dynasties, his literary achievement was reviewed separately from his character. Critics on Qu Yuan also changed from direct criticism to deliberate questioning. It is also in this period that Qu Yuan was reviewed from his literary ingenuity and sentiments, thus, one of his images was restructured specially known for this epoch. As for the reviews and imitation artworks in this period, such as: Fu, parallel prose, poetry, and mysterious fiction novels, which were not only created based on the literary spirit of Chu-Ci, but also showed the attempt to make a break-through out of the original masterpieces. The innovated structures, broaden imagery, and elaboration on emotions and phrases are the expanded characteristics from traditional study of Chu-Ci. In addition, the rise of new aesthetic value had anchored the imitation works of Chu-Ci from reflecting life experience to become more closely intertwined with everyday life of folks. The introverted and deep emotion of Chu-Ci also gave birth to the sorrowful, weeping but gorgeous literary imitating works. The literary spirit of Chu-Ci can be regarded as the force which established the contemporary aesthetic sense of melancholy. In conclusion, the study of Chu-Chu in Wei Jin and Southern Northern Dynasties is difficult due to numerous crucial research data of Chu-Ci were lost in unrests of an instable time. However, due to its strong and colorful style, the study of Chu-Ci during this period has its unique value and significance which not only plays as an important role in studying the history of Chu-Ci development but also serves as the solid foundation for Chu-Ci studies in the following Tang -Song Dynasties. Key words: Qu Yuan; Chu Ci; Study of Chu Ci; Wei Jin and southern-northern Dynasties
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Liang, Han-Chun, and 梁涵珺. "A Study of Farewell Poems in Wei, Jin, Southern and Northern Dynasties." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/82602797223879274553.
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碩士國立臺灣大學
中國文學研究所
103
Throughout the history, people all face the experience of parting or bereavement. Now that people encounter the farewells, they must sink under deep grief and be eager to pour out the emotions afterward. When it comes to the poets, Chinese character is the best tool to express their emotions. In this manner, starting from the Yan Yan poem in The Book of Songs (《詩經‧燕燕》), poets convey the sadness of parting and the longing after partings again and again. We can say that farewell is one of the most significant topics in Chinese literature. Although farewells happen frequently to every Chinese in every dynasties, the experience of parting has become an apparent phenomenon in Wei, Jin, Southern and Northern Dynasties(魏晉南北朝) owning to the numerous battles. In this era, the literati pose great importance on sentiments, which are usually triggered by farewell conditions. Facing these situations, poets often get into deep thoughts. Besides, this era follows Pre-Oin (先秦),Han Dynasties(兩漢), and opens up the golden age of Tang Dynasty(唐朝), performing as a medium between them. Therefore, this thesis aims to study the writing pattern of farewell poems in Wei, Jin, Southern and Northern Dynasties and discusses their development. The dedication and reply poems (贈答詩) developed by Cao Cao(曹操),Cao Pi(曹丕),Cao Zhi(曹植)and the literary organization of Jian-an Age(建安文學集團), poems of farewll banquets(祖餞詩) in Western Jin dynasty(西晉), landscape poems(山水詩), tour Poems(遊覽詩), and roaming poems(行旅詩) in the Southern Dynasties(南朝) are all considered farewell poems. Once the poet expresses the sentiments of separation in the work, the poem is considered as farewell pomes(離別詩). To be more precisely, poets in the Eastern Han Dynasty(東漢) are relatively simple, they only write about the farewells. Later in Wei, Jin, Southern and Northern Dynasties period, farewell pomes not only contains the feeling of separation, but also poets’ thoughts toward life. About the research methods, this thesis classifies farewell poems into four categories according to the identities and types. The first one is the traditional custom passing down from The Book of Songs, referring to the government feast the farewell parties for those retired officials. After Wei, Jin, Southern and Northern Dynasties, this type of farewell pomes are made of all officials to appreciate the royals and the retired colleagues; lastly, the poems will contain some sentiments of separation. The second one is farewells with friends. In Han Dynasties, the characters of these poets are full farewell sentiments. However, since Wei, Jin(魏晉), the poets use four-characters (四言詩) and five-characters poems(五言詩) to represent rites and affections respectively. The third one is the people who must leave their countries. Homelands and countries are forever the distinctive place(地方) to the poets. Homesickness becomes the constant topic of poets. The last one is the Yearning women(思婦) who separate from their husbands. There are different representations before Wei, Jin, but the farewell poems’ context gradually becomes the same mode. Poets express yearning women’s fear of being abandoned due to their senility and ugliness. Since the Nineteen Old Poems(《古詩十九首》)in Eastern Han Dynasty, most poems focus on that the fore-coming of separation. Their affection accumulates gradually, and reaches the upper limit at the time of separation. In addition to this style, Wei, Jin, Southern and Northern Dynasties creates a new manner: the poets immerse in the new and good memory via recalling past memory after separation. As for home-leaving poems, poetry of homesickness in Wei, Jin, Southern and Northern Dynasties, poets compare homeland with foreign land, and then define an area as their homeland. Poets indicate their unaccustomed to foreign land by describing different customs of foreign land. The passing of time makes people more mature, especially the yearning women. They talk to the past and finally know that their husbands would never come back. Since Qu-Yuan(屈原), poets are anxious about the passing of time, and long distance is another reason of depression. The farewell pomes before Wei, Jin often use stars and borders to represent long distance. Besides, we will find that there are no clear descriptions about other details, such as people, time, or site. Because their focus is the affection of leave, not space. Until Wei, Jin, Southern and Northern Dynasties, poets create new methods: using the geographical names to make the distance clear and represent the path they walk along. When they recall of the geographical names, they also evoke the feeling of farewells. The scenery in poetry of Pre-Oin and Han Dynasties are used for atmosphere. Nevertheless, the location after Southern Dynasties is more clear because poets are more fond of describing the natural scenery. In addition, poets represent the identities, and explain why farewells happen. Consequently, every farewells become unique. Reading farewell pomes of Han Dynasties breaks our heart is because that the poetry did not indicate a clear background. The most obvious sensation in a vague condition is the sentiments. Because poets have similar affection, they all use hope and dream to express their overload sentiments. They eager to have wings to fly across the sky via wind and send massage via clouds. They also want to come back home in the dream when they sleep. However, farewell pomes became the exclusive right of poets since Wei, Jin, Southern and Northern Dynasties. Poets emphasize themselves via farewell poems. According to the contents, most of them are the choices between being government official or retired. Because the farewell pomes are usually made for the poets’ friends, the poets would express their thoughts and difficulties other than yearning. Moreover, poets present themselves to their friends and future readers via poetry. It reflects the inclination that they want to be heard and understood. As a result, farewell pomes become the specific expression of the poet’s affections.
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FANG, HSU YUEH, and 徐月芳. "The Research of Letters during Wei, Jin and Southern and Northern Dynasties." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/84629447271589740467.
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XU, SHU-XU, and 許淑絮. "The Course of Kuan--Yin Beliefs on Wei Jin Northern and Southern Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/44530122341667365726.
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Chang, Kun-Lin, and 張琨林. "Chinese Ceramics and Metalwork in Northern and Southern Dynasties: Focusing on Sahari Bronze." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/dswjvd.
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碩士國立臺灣大學
藝術史研究所
107
This study explores the development of sahari bronze, a type of high-tin bronze, and its influence on ceramics in Northern and Southern Dynasties. While sahari bronzes showed typological and stylistic differences from traditional Chinese bronze, the use of lathe in its manufacturing process is one of the distinguishing features that defines this unique metalcraft. By comparing sahari bronze to Han dynasty bronze and then to high-tin bronze artifacts from other regions in Asia, I propose that the origins of sahari bronze are from: (i) the local high-tin bronze industry of China; (ii) Gandhara region; (iii) west and central Asia. The influence of Gandhara region and west and central Asia on sahari bronze also reveal cultural exchange between China and other regions in medieval period. Technical traits of sahari bronze suggest that it might have been developed for specific purposes and under particular social circumstances. I argue that "tou" and "tou-shi" from medieval literature were referring not only to brass but also to sahari bronze. Given that most of tou-shi utensils are related to Buddhism, I believe the sahari bronze technique was used for Buddhist metalcraft. Furthermore, sahari bronze was established in a period that coincides with the spread of western precious metalware, and some characteristics of sahari bronze, such as lightness and surface brightness, mimic gold and silver vessels. Therefore, I argue that sahari bronzes served as substitutes for precious metalware, and their development was very likely stimulated by gold and silver vessels. Finally, I will focus on distinctive artifacts as case studies to explain the influence of sahari bronze on ceramics. Using archaeological and visual evidence, I conclude the long-necked water bottle, with its Buddhist symbolism, had its roots in India, and was introduced to China through transmission of Buddhism. The high-footed round and deep concave bowl and cup, another widespread artifact type from the same period, exhibit stylistic attributes similar to forged gold and silver vessel, and might have its prototype derived from western precious metalware. The phenomenon of ceramic and sahari bronze sharing the same stylistic features of gold and silver vessel reflects prevalent trends of precious metalware in Northern and Southern Dynasties.
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Taso, Wen Han, and 曹文瀚. "The research of social unrest in Northern China of the Jing Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/49578429968855358164.
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博士中國文化大學
史學系
104
The research of social unrest in China, which refers to peasant wars and rual upheaval, now mets a transforming situation that the old model has been abandoned and the new model hasn’t been yet established. Therefore, this dissertation reviews those work, written by Chinese and Taiwanese Scholars in the 20th century on social unrest. Through their discourse it points out that those relatine researches favor evaluating instead of analyzing and attemps to reveal what those scholars, who studied dining the changing academic tendency making the research of social unrest so difficult, through important to be paid attentions and analyzed when they did relative researches. As well it tries to realize their theories. In this dissertation, it mainly unfolds according both periodization and the following concerns. 1. Quantification analysis, including times, regions, type, leaders, members, as well as the “result” distribution of the social unrest association in the fourth chapter. 2. The influences of external environment on various society during different times. That is discussing the factors leading the social unrest in different periods. 3. The developing process and ways of the rebels. It observes the mobilzations, ogorizations and comurications of various social unrest and attempts to analyze how the members of the social unrests achieve their goals and what the ideologies offected on their activities. 4. The policies and efficiencies of governments. Focusing on the social controls, it observes the government’s policies and results to keep social orders, reduce the social conflicts, and raise the powers for suppressing societies. Besides broadly discussion the social unrests of the North China in Jing Dynasty, this dissertation also discusses some issue like “the rebellion populace are the most in number in Emperor Shih-tsung’s reign(1161-1189)”, “Issues of land system in Jing Dynasties ”, and “Class composition of the unrest groups in late Jing(1209-1232)”, and raised my personal opioions. It also focuses in the developing process of the unrest groups and their ways for rebellion, as well as the changes of the Jing government's policy. More emphasis during various times. Comparing with the past works which prefer emphasizing on the social unrest of war period, this dissertation focuses on the social unrest during the peace time. Despite of the limitation of historical materials, viewing angle, and the author's ability, there are still somethings needed to be strengthened portion, however this dissertation should provide some ideas for future researchers.
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Chao, Yi-ching, and 趙憶菁. "The Study of Poetry about Tours in the Wei, Jin, Southern and Northern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/45481949960032163826.
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碩士國立臺南大學
國語文學系碩士班
98
The scenery with hills, waters, rivers and plains looked like a painting, so poets wrote poems because of their interests'' being raised when they made tours in it. The poets of the Wei, Jin, Southern and Northern Dynasties followed in the footsteps of the literary arts about Book of Poetry, Chu Ci and Han Fu, and they were influenced by the politics, the thoughts and the social customs at that time, so they not only described the beauty of the natural scene but also expressed their own thoughts, affection and aspiration through the scenery when they travelled within hills and waters. Consequently, the poetry about tours got great development during the period of the Wei, Jin, Southern and Northern Dynasties. The study makes a whole investigation into the poetry about tours in the Wei, Jin, Southern and Northern Dynasties to make an enquiry into its basic features and the poets’ thoughts and spirits at that time. The dissertation is divided into five chapters, and the contexts from Chapter Two to Chapter Four are the main discusses. Chapter One explains the motivation and the purpose of the study, the category and the definition of the topic, the investigations toward the related research results of its predecessors, and the studying methods and the steps. Chapter Two penetrates into the literary development and the background of the age to trace back to the factors about the prosperity of the poetry about tours in the Wei, Jin, Southern and Northern Dynasties. Furthermore, it elaborates on the generational characteristics of the poetry about tours in accordance with the contemporary literary development. Chapter Three extensively collects the related information of the poets’ lives and their works, generalizes and analyzes the relationship between the poets’ experience of lives, their tour routes and the content of the poetry about tours, and it also generalize the different poets’ creations about tours within the same locations, explore the similarities, the differences between each other and their respective styles according to the locations presented in the poetry about tours. Chapter Four analyzes the affection and the aspiration which were presented in the content of various works, classifying and elaborating them. Chapter Five explores and analyzes the influence that the poetry about tours at this period of time had on the future world besides summing up the emphasis of each chapter as mentioned above. Making a study of the poetry about tours in the Wei, Jin, Southern and Northern Dynasties can outline the natural scenic beauty of the poets located in at this period of time, deeply comprehend their feelings of the souls and the interests for the appreciation of the beauty, and it can also reflect the social phenomenon and the psychology in the age that the poets lived in.
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Chen, Shih Yun, and 陳世昀. "Destiny Narration in the Zhiguai Fictions of Wei, Jin and Northern and Southern Dynasties." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/x3q79z.
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Cheng, Su Fen, and 程淑芬. "The decorative patterns on Buddhism stone tablet in the Wei-Jin, Southern and Northern Dynasties." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/47015147450746038521.
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碩士華梵大學
東方人文思想研究所
101
The Buddhism stone tablet belongs to one type of religion dissemination. We can know Buddhist art culture affected by politics, nationality, culture, community from Buddhism stone tablet research. When Buddhism was introduced to China in the Wei-Jin and the Northern and Southern Dynasties (220-589). Buddhism organization developed rapidly. Buddhist monks increased over eighty thousand peoples and over five hundred temples in the capital in Southern Dynasties of Liang Dynasty (502-557). Emperors of the Northern Dynasties (386-581) were conveyed the Buddha's teachings and used the religion as a system for unifying their rule, built stone grottoes, Buddhism statues and tower. The mass production of artistic value in Buddhism stone inscriptions and wall Paintings The Buddhism stone tablet often decorated many kinds of patterns, such as human figures, flowers, birds, animals, Buddha, geometric schemes and others of pattern. Some decorative patterns of Buddhism, originated from India and spread eastward through ancient Silk Road of China, has been selected and improved by Chinese native culture. We can find pattern design and composition of decorative patterns have regularity from assorts or arrange in Buddha and decorative patterns. It takes on development of history and the pluralistic feature of Buddhist art. The research emphasis is choosing from decorative patterns on Buddhism stone tablet of having feasibility research. The areas of research limit in the Wei-Jin and the Northern and Southern Dynasties (220-589), with develop rapidly of Buddhism. Searching, coordinating and analyzing of rich literature to do research of decorative patterns on Buddhism stone tablet, with characteristic and influence upon later generations. The major findings of this study are: (1) The decorative patterns of India and Western Regions were changed greatly by Chinese native culture. (2) The decorative patterns of India combination of Chinese thought and traditional decorative patterns. (3) Affected by style of traditional Chinese painting. (4) Causes of the prosperity of the rulers esteemed and society organizations high on Buddha statue activities. VI (5) Due to differences in Chinese Buddhism beliefs can produce differences Buddha statue and decorative patterns. (6) The decorative patterns are confined in standard of Buddhist sutra. (7) Make good use of cape corner patterns to fill in triangle side of Buddhism stone tablet. (8) Some of decorative patterns are no longer used and gradual change in style. (9) The Buddhism stone tablet art in the Wei-Jin and the Northern and Southern Dynasties become to the major history of Chinese art. (10) To provide the creation and plenty foundation for later dynasty of decorative patterns on Buddhism stone tablet.
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Tsai, Chin-Chang, and 蔡金昌. "A Study of The Theory about Human-Nature in Wei,Jin Northern and Southern Dynasties." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/36810130018855975396.
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博士國立中興大學
中國文學系所
101
China Ideology History has different kind of status just like Wei-Jin Northern and Southern Dynasties. It carried on the Xian-Qin period and created a new Sui-Tang era. This became one of the most important history moment in China. Now people even paid a lot of attention to Metaphysics but Buddhism and Taoism were built their own theories and mind-thinking at the same time. They had development progressing. The issue of Human-Nature started to become a main discussion among the thinkers. After developing and growing of Liang-Han (Gasification) and Wei-Jin (Ontological) theories, it was slowly moved to Human-Nature thinking with heart of understanding. This also turned into basic knowledge of Sui-Tang and Song-Ming Human-Nature in minded. First, this thesis is trying to make a research about Xian-Qing Human-Nature at the beginning. Then, figures out the ways of deciding the main topic of China Human-Nature theories. On the other hand, the writer will start to talk about Gasification of Liang-Han and then continue with the matters of Metaphysics such as some people liked to advocate the process of nothing, everything until the virtual. This can view the evolvement situation of traditional Human-Nature thinking. Besides, Buddhism in Wei-Jin Northern and Southern Dynasties tried to develop Buddha''s thinking through the knowledge of Wisdom, Nirvana and Yoga-movement. Taoism also followed the trend and became one of the main mental thinking. The range of China Human-Nature became bigger. At the observation of saint, the only traditional way of those people which had to equip their morality was started to breakthrough. The highest of ideal and value personality were not only just limited with the fulfilled morality in the reality or started to realize to become a buddha and grow a juicy fruit to transcend the Human-Nature traditional thinking of the saint structure. The basic identity of saint was to show his morality without the reflection of Buddhism and Taoism. It made the meaning of Human-Nature become deeper. The point of view and explanation all gathered the traditional system of Gasification, the build-up of Ontological and the importance of heart within understanding. Everyone started to follow their mind and proved that the Human-Nature in Wei-Jin Northern and Southern Dynasties inherited and changed the traditional theories before. This was a main characteristic which brought the special meaning to the development of China Human-Nature History.
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陳炎墀. "A study on the music of Chinese’s ballard : from the Wei Jin dynasties and the Southern and Northern dynasties and the Ming dynasty." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/qgqttf.
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HSU, KAO-HSIANG, and 許高祥. "The Impact of the Rebellion of Ho Jing on the Political of Northern and Southern Dynasties." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/t3675n.
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博士中國文化大學
史學系
105
“Nothing is for sure and chaos with turbulence“is the portrait of Wei-Jin-Nan(South) Bei(North) dynasties (AD 220-AD589). This period of time is also called Shan Kauo(Three Nations)-Two Jin-Nan(South) and Bei(North) dynasties. It was a period of long term of chaos and warfares last almost four hundred years. The shift of dynasties was fast and due to long occupations of warlord and endless war, in this period, many regimes co-existed. The East Jin Dynasty in Gongxi Yuan Xi two years (AD 420 years), East Jin was usurped by Liu Yu who established Nan-Soong Dynasty. This was the beginning of Nan(South) dynasties. The Bei (North) dynasties was unified by North Wei Emperor Wu Taiwu light sixteen years (AD 439). This was the end of turmoil of Sixteen Kingdoms. This formed the confrontation between the North and the South of China. And China steps to the Nan(South)-Bei(North)dynasties. North Wei Emperor Xiaowu Tai Chang six years (AD 534), two warlords raised up. By the end of Bei (North) Wei Xiao Wu Emperor, courtier in power Kao Hwan and warlord U-Wen-Tei divided Bei(North)Wei into two parts, Dong (East) and Shi (West) Wei. Since the division, both sides were constantly in the state of war. East Wei Xiao Jing Wu Dili five years (AD 547) January. Dong (East) Wei Kao Hwan ended his life and his general, Ho Jin could not tolerate the successor Kao Cheng and betrayed him. He failed to turn himself to U-Wei-Tei and finally settled in the South with Liang Dynasty. The surrender of Ho Jin did not bring any good to Liang Dynasty instead; it brought up the course of the worst civil turmoil in Liang Dynasty- The turmoil of Ho Jin. Even later, the turmoil had ended but the problem and dispute among Liang, Bei(North) Chi and Bei (North) Cho had never ended. Among them, Bei (North) Chi was suffered during the end of its times. From the emperor to the courtiers, no one is normal and cruel to anyone who against them. The taxation and labor duties had increase heavily. It turned out to be ill financed and burned out the human resources in Bei Chi. The confrontation between classes were severe. And even ruling class had serious issue of inner contradictions. Since the Cheng Emperor, Kao Jarn, the power of Chi had decreased and only took the states of defense to its oppose, Bei(North) Chou. Bei (North) Chou Wu emperor succeed the throne and reinforce and rebuilt the power of his country. Only four months, he had merged his rival for 40 years, Bei (North) Chi and finished his predecessor’s U-Wen-Tei’s unfinished trophy. The people of the north can be avoided to the warfare and their home could be rebuilt. The production of the North has regained and it had facilitated the develop of the North in politics, economy and culture. The foundation has even firmer since the unification of Shui Dynasty. We could end up with the conclusion without the merge of Bei (North) Chi from Bei (North) Chou, the possibility of the unification of the North and South were very slight.
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Lu, Kuan-Po, and 呂冠伯. "The Study on the Cheng Shih, Pieh Shih, and Ku Shih of Southern and Northern Dynasties." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18708301219794576804.
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鄭愚烈. "A study on folksongs and ballads of Yue-fiu verse in the Northern & Southern dynasties." Thesis, 1988. http://ndltd.ncl.edu.tw/handle/cymyfg.
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Wang, An-Tai, and 王安泰. "Recreating Feng-jian：A Study of Noble Title and Political Order in Wei, Jin, Northern and Southern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/67250664736358439649.
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CHING, HUANG SHU, and 黃淑靜. "Analysis of the Chinese painting about Morphe - Psyche Theory during Wei, Jin and Southern and Northern Dynasties." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/61989014069786321648.
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碩士中國文化大學
哲學研究所
96
Chinese painting showed in special type and mode is one of outstanding features in Chinese painting history. In addition to materials and technique, Morphe - Psyche Theory gradually had expanded since Han dynasty and led the style of the Chinese painting. Consequently, aesthetics in Wei, Jin dynasty held the important place in the Chinese aesthetics development history. The major task of the dissertation is to analyze aesthetics in Wei, Jin dynasty. The reason is that in Wei, Jin dynasty people had their independent and high sense about human value. We would expect to dig out the worthful information and understand the relation between morphe-psyche theory and object, subject problem from internal and external development factors. In the dissertation our main discussion focus on Chinese painting. Particular attention has been given to provision of thinking development about aesthetics in Wei, Jin dynasty through Chinese painting history and actual value between Morphe - Psyche Theory and aesthetics.
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CHING-I, WU, and 吳靜怡. "A Study of “Sheng” and “Gu” in Aesthetic Criticism of the Wei, Jin, Southern and Northern Dynasties." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/37169921094670314918.
Full textAbstract:
碩士國立彰化師範大學
國文學系
97
With a unique style in Chinese history, Wei, Jin, Southern and Northern Dynasties marks a marvelous milestone in Chinese aesthetics. The aesthetic developments in this era give a new coloring to painting, calligraphy, music and literature. The aesthetic terms developed in this era are often seen in the critical works of painting, calligraphy, music and literature. Take sheng (spirit) and gu (bone) for example. In the artistic critical works, these two terms are frequently used by the critics as critical terms in evaluating works and authors or as the terms of critical objects in discussing creations. How did this unique aesthetic thoughts of China form—transferring these words (sheng and gu) into aesthetic terms? With an attempt to come to a fuller realization of “sheng” and “gu,” this study aims to explore the thinking sources of these two terms and the process of the transferring development. In the aesthetic experiences, the abstract experiences of aesthetic perception, through descriptive and critical languages, are obtained from the descriptions of multiple aspects. Then, through numerous evaluations, the terms coming from these experiences are synthesized as the common images of aesthetic evaluation. This study names these terms with aesthetic senses as “aesthetic terms.” With the popular trend of character evaluation in Wei and Jin Dynasties, the terms of “sheng” and “gu,” in addition to be seen in character evaluation, also appear in the evaluation of artistic creation activities quite often. This study also attempts to discuss how the critics of that time apply “sheng” and “gu,” how these two terms are utilized from the evaluation of characters to the one of artistic and literary creation. This study contains an analysis of the conception of “sheng” and “gu” in the Wei, Jin, Southern and Northern Dynasties as well as those in Confucian and Daoist creations of Chin and Han Dynasties; an exploration of “sheng” and “gu” in 〈A New Interpretation of Old Sayings〉; the conception of these two terms in painting theory, calligraphy theory, musical theories and literature theory; an understanding of the aesthetic in the Wei, Jin, Southern and Northern Dynasties through the application of “sheng” and “gu;” a research on the aesthetic values of “sheng” and “gu.” At last, this study discusses the process of transferring the concepts of “sheng” and “gu” in daily use into artistic and literary aesthetic terms, the compatibility in different kinds of artistic and literary activities, the relations between the term of “sheng” and “gu,” and some issues of the development of musical theory in the Wei, Jin, Southern and Northern Dynasties.
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黃子瑜. "The introduction and influence of the Buddhist medical concept in the Han, Wei, Jin, Southern and Northern Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/56712629429464581120.
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WEI-CHIEN, WANG, and 王偉建. "The Study of Military Thought and Military Literature of the Representatives in the Northern and Southern Song Dynasties." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/22avpm.
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博士東吳大學
中國文學系
105
The thesis researched the military thought and military literature of representative individuals of scholar-generals in the Song Dynasty. In the Northern Song, Fan Zhongyan, Han Qi and Li Gang were the representative individuals of scholar-generals while in the Southern Song Yue Fei, Xin Qiji and Wen Tianxiang were. The first three scholar-generals were the representative individuals in the Northern Song. Fan Zhongyan who was as good a general as a prime minister had a positive and overall military-political knowledge and experience. His literary works showed his love to the country and included real combat experiences; moreover, he took history as a lesson. Being a prime minister for ten years, Han Qi served three emperors. His military thought put emphasis on bringing peace and stability to the country. The more important policies were cultivating outstanding staffs, paying attention to both strategies and tactics and severe military discipline. His literary works included military terms, described guarding the frontier; moreover, he took history as a mirror. Although Li Gang who was upright, frank, and royal served in the Northern and Southern Song Dynasties, his main military and political activities were during the Jingkang Incident. His military thought was saving the nation from subjugation by means of autonomy first, appointing and authorizing generals. His literary works expressed history, and he dedicated himself to the service of his country. The rest of scholar-generals were the representative individuals in the Southern Song. Being ambitious and pitying the fate of mankind, Yue Fei focused on the battle practice as his military thought. He carried out military strategies, opened up wasteland before wars and made a successful surprise raid to save his country; thus, his works were well known forever. Xin Qiji who emphasized to follow military thought and not to gain temporary ease had his own flexible tactics. His military literature works showed patriotism and how to save his country. Being outstanding in the palace examination, Wen Tianxiang proposed military and political policies to take up a challenge in troubled times. He was loyal and dedicated himself to the service of his country. The hinted appeal of his military literature works were worth admiring. In the conclusion, we could learn the lesson from the historical review. Reading the thought, deeds and contributions of the representative individuals of the scholar-generals in the Song Dynasty, our army and government could be provided with these opinions to modify today’s measures; therefore, the excellent tradition of the civilians and the military could create a brand new future to the Chinese people.
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shih-chieh, Liu, and 劉世頡. "The Situation of Military Strategy and Diplomatic Relation between Northeast Asia and Wei, Jin, Southern & Northern Dynasties." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/87500033127938276779.
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CHI, HUNG FU, and 洪富吉. "The research on Buddhism belief for literati and officialdom in Southern and Northern Dynasties from the viewpoint of Yanshi jiaxun." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/58135490276243953230.
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碩士玄奘大學
宗教學系碩士在職專班
97
The practice of Buddhism prevailed and became exceptionally popular among intellectuals and rulers during the Southern and Northern Dynasties. The Gueil Sin of Yanshi jiaxun ("The Family Instructions of Master Yan"), a historic legacy written by Yan Zhitui and a reflection of this era, expounds the perspective of practicing and protecting Buddhism. The concept of Karma was extremely popular at that time. Yan Zhitui erged his students to establish their own factions and admonished them not to abandon their wives while practicing Buddhism. Since the human life form is hard to come by and it should not be fiddled away, students must delve into reading in order to build up a bridge for the next generations. The ultimate goal of Gueil Sin is not only to encourage students to focus on practicing Buddhism but also advocate the practice of Buddhism to the common people. This thesis first introduces the political setting and social background in Southern and Northern Dynasties. At that time, the literati and officialdom were obsessed with meretricious fashion. We should understand the tradition of Yanshi and his legacy. By exploring his life-long story, we will be able to trace the factors that influenced his faith and thought when wars, misfortunes, death were ruling. The next section focuses on Buddhism and the religion of literati and officialdom during Southern and Northern Dynasties. This section aims to examine the dispute among Confucianism, Buddha, and Taoism, at the time, how they were merged and eventually became a whole new Chinese Buddhism. Finally, this paper also analyzes how Yan Zhitui elaborated his ideals and faith about Buddhism in Gueil Sin. The historical heritage, Yanshi jiaxun, integrates isms from all aspects to balance ideal and reality. It has developed its own philoshophy which is also doctrines for descendants.
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Chen, Hung-Yin, and 陳虹因. "The Invention during Decline—The Studies on Set of Jade Pendants in the Wei-Jin and Southern and Northern Dynasties Period." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/59062102571899497568.
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碩士國立臺南藝術大學
藝術史與藝術評論研究所
97
The Wei-Jin and Southern and Northern Dynasties has usually been thought as the declining period of Chinese Jade art. However, the set of jade pendants unearthed from the Eastern Jin Tombs at the Xianhe Temple（仙鶴觀）near Nanjing provides a opportunity for further interpretation of the jade culture in this period. Therefore, based on the foregoing discoveries, this study discourses the style of jade pendants and analyses their cultural and social implications in the Wei-Jin and Southern and Northern Dynasties. Jade pendants in the Wei-Jin and Southern and Northern Dynasties Period displayed a normative style, which generally believed to be a result of the ritual code innovated by Wang Can（王粲）. However, by reviewing and analyzing the archeological data and historical documents, this thesis found that the style exhibited in this period shall be more like a result of the evolution of jade pendants and reference to the iconographic tradition up to this period, than the innovation of Wang Can stated in the historical records. This thesis includes five chapters. The first chapter introduces the motivation of this study, the preview of related researches, and the definition of jade pendants and its components（i.e. huang玉璜 and heng玉珩）. The second chapter discusses the unearthed jade in the Wei-Jin and Southern and Northern Dynasties. This study categorizes the jades and compiles their statistic. This chapter further observes the funerary conditions to discover the specialty of huang and heng. The third chapter divides the study of restoration of jade pendants into two sections: the first section studies the imaginative restoration in accordance only with the historical documents, while the second section analyzes the evolution of archeological discoveries to generalize the style tradition of jade pendants in the Wei-Jin and Southern and Northern Dynasties Period. The second section also clarifies the relationship between jade pendants and pendants’ iconography in this period. In order to understand the possible implications of jade pendants in the Wei-Jin and Southern and Northern Dynasties, the fourth chapter focuses on the literatures of jade pendants within this period and intersects comparison with the findings in Chapter Two and Three. A conclusion is proposed in the final chapter, deducing the implications of jade pendant and the origin of their style in the according period.
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CHUN, HUANG TA, and 黃大峻. "The Reception Effect of The Classic of Mountains and Rivers in the field of Literature in Wei-Jin, Northern and Southern Dynasties." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/qu3eb3.
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碩士國立臺南大學
國語文學系中國文學碩士在職專班
105
The Classic of Mountains and Rivers records ancient myths and legends and geographical conditions. Views of this book varied from scholars to scholars, which can be classified into seven categories: text sorting out, checking and annotation; textual research on the contents; picture-text relation; research on the author; research on the writing time; the theory of nature; the theory of values. These seven categories are author-centered and text-centered while reader-centered discussion is hardly seen. Wei-Jin, Northern and Southern dynasties are a time of political turbulence. However, from the point of vocal metaphysics and literature of immortals and ghosts, it is also considered as a time of literature consciousness. The Classic of Mountains and Rivers came out in Han Dynasty(BC202—AD220), followed by Guo Pu’s annotation in the Eastern Jin Dynasty (317-420) for the first time. Since then, the Classic of Mountains and Rivers had been attached to the fruit Guo Pu’s ideas. However, not only Guo Pu, but also at least another twenty six people had read the book in Wei-Jin, Northern and Southern dynasties and they had also put forward their own interpretations and gained various responses. This article discusses thoughts of readers above from the perspective of reader’s reception, and presents writing responses through analysis of how people in that era interpreted the book. The author expects to make some meaningful contributions to the blank of relative research on the Classic of Mountains and Rivers
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Chiu, Ying-Hui, and 邱瀛輝. "Crustal Characters in the Northern Offshore Area of the Chenho Reefs, Southern South China Sea." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/92871922719572943001.
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碩士國立臺灣大學
海洋研究所
104
In this study, we analyzed multichannel reflection seismic profile, gravity and magnetic data along a 217 km long line, to discuss the crustal characters in the northern offshore area of the Chenho Reefs in southern South China Sea. The roughly SW-NE trending seismic profile lies in the Chenho-Daoming trough north of the Chenho Reefs. We divide the seismic profile into three sections from southwest to northeast: seamount area, northern offshore of the Taiping Island and igneous intrusion area. All the seamounts and igneous intrusions disturbed the shallow sediments beneath the seafloor. The seismic reflection images in the northern offshore of the Taiping Island are characterized by several sets of strong reflections with amplitudes dropping off westward. These reflections show reciprocal stacking patterns which are typical seismic expressions at the edge of carbonate platforms. The Moho depth is about 13-19 km by inversion of satellite gravity data, suggesting a thinned continental crust. Gravity modeling reveals that a high density layer（2.97 g/cm3）lies in the lower crust. The magnetic anomalies in the seamount area and igneous intrusions area show high values about 80 to 160 nT, whereas -35 to -180 nT in the northern offshore of the Taiping Island. Magnetic modeling also reveals that the magnetic susceptibilities of the seamount area and igneous intrusion area are higher than that of the northern offshore area of the Taiping Island. In this study, a high density layer which may be caused by underplating is simulated in the lower crust. Referring to ODP Site 1143, we suggest that the volcanoes and the igneous intrusions were not formed during the rifting but were developed after the rifting stage. In this study, we propose that an intermediate mode of rifting to fit characteristics of the Chenho Reefs, which is different from either volcanic margin or magma-poor margin. The structural trend of the Chenho Reefs axis is perpendicular to the rifting axis of the Southwest Subbasin in the South China Sea. Moreover, the magnetic susceptibility of the crustal material in the northern offshore area of the Taiping Islands suggest a granite basement. The seismic features of seamounts and igneous intrusions do not appear in the northern offshore area of the Chenho Reefs. We propose that the basement beneath the Chenho Reefs should be a continental fault block caused by the rifting of the South China Sea, rather than volcanic seamounts.
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Chih-yu, Kuo, and 郭芝羽. "A Study of The Disyllabic Combination in the Category of Zuo(捉) Chi(持) in Wei Jin and the Northern and Southern Dynasties." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/65666628215887839895.
Full text
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Chang, Chung-hsien, and 張景賢. "The Research on Daoist Jai- Jie Thoughts During The Period of Wei, Jin. Southern and Northern Dynasties: Centering on The「Wu-Shang Mi-Yau」." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/d8k8xd.
Full textAbstract:
碩士南華大學
宗教學研究所
101
Zhai-Jie, a kind of pre-rites before many important ceremonies or events in Chinese culture, concludes several significances: purification of both physical and mental. Consecration, and seclusion. At first, Zhai-Jie was supposed to be a religious pre-rites. As time went by, in the period before the Wei Jin South - North Dynasties, the using and meaning of Zhai-Jie has changed: form only religion and to both religion and thinking. The stem of an altar and prays in Taoism seems from Confucianist''s sacrificial ceremony, pass through the Wei Jin Southern Northern Dynasties and Ling-bao gradually complicated. The Eastern Han Dynasty is popular it. Taoism pays great attention to Zhai-Jie ,and said that the first center of gravity is Shin -Zhai, all attention and remembers in order to one, reverent his/her heart. "Tai Ping Ching Ling Shu " then had warns, Eastern Han Dynasty Zhang Lu "Lau Tz Shiang Er Ju" had ziou shin and ziou bu shin stipulations, later also has.“ Lau Tz Shiang Er Jie.”. In " WU-Shang Mi -Yau " actually multiple refers to Zhai-Jie, Chi-Shang, Chan-Huei ( confession ) and all kind of application Zhai-Fa(ways of.abstention)., such as “Zhai-Jie Pin”, “Ling-bao Zhai Su Chi Yi Pin ”, “San Huang Zhai Pin”, “Tu Tan Zhai Pin”,“Meng Jen Zhai Pin”, “San Yuan Zhai Pin”,,“Jin Lu Zhai Pin”, “Huang Lu Zhai Pin”, “Tai Jen Shia Yuan Zhai Pin”, “Tai Jen Jung Yuan Zhai Pin”, “Tai Jen Shang Yuan Zhai Pin” etc., In order to understand Taoism Chan-Huei ( confession ), Zhai-Jie( fasting ) thought , and the meaning of Zhai-Jie, before Wei Jin Southern and Northern Dynasties, This paper will take " WU Shang Mi Yau " as the center to collect all datas of Zhai-Jie, and use the “history textual analysis and criticism” and “thought research”, to pondered the ceremony of " Jai-Jiau “ ,also to explain each kind of ceremony and taboo on the " WU Shang Mi Yau ".As it should be to starting from Taoism initial period ( Shou-Guo →Jie-Tzuei → Zhai-Jie → Jie-Li ), to seek the answer of the question.
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"北朝書寫者對母、妻形象的塑造." 2013. http://library.cuhk.edu.hk/record=b5884244.
Full textAbstract:
楊青."2013年8月".
"2013 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 172-182).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Yang Qing.
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Tseng, Zi-Min, and 曾子珉. "Amid such distress of disorder and dispersion,Whither can I betake myself?─The country identification and lyric of Scholars in Two Jins and Northern and Southern Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8t58xj.
Full textAbstract:
碩士國立暨南國際大學
中國語文學系
104
In order to study the scope of Two Jins and Northern and Southern Dynasties, discussed in the context of the establishment of legitimate, thereby observing changes in flood era, the attitude of scholars how to face themselves. First chapter, to clarify what is “Zheng Tong”? The second chapter, the focus instead discussed herein establish legitimism, identification, and country. After combing the significance of these keywords represent, and then further into the Two Jins Dynasties derived discussion about the identity because of the rise of the alien regime. The object of the identity of legitimism involved are not limited to Han, also finished the barbarian. In addition, it also finds out the identity of scholars who internal and external with The Eastern Jin Dynasty and they how to treat The Eastern Jin Dynasty. The third chapter, it discusses the state after entering the Northern and Southern Dynasties, with the disappearance of the Eastern Jin Dynasty representative, have any effect on the identity of scholars at that time? For argument with somewhere, “Zheng Tong” belong between South and North is more significant. With the frequent exchange of envoys, Southern and Northern exchanges, the two sides for defending and confrontation with their legitimacy are extraordinarily wonderful. Peaceful nature of the exchange in addition to diplomats, also violent nature of the war of aggression. The army of Western Wei invaded Liang Dynasty, captured a group of Southern Scholars, many Southern Scholars enter the North, although the importance of style in literary history has a north-south integration, the scholars who enter the North faced sadness and frustration, as well as witnessing the destruction of the home country of traumatic memories. These emotional performances from identity collapse. The fourth chapter, with the writing of the scholars who enter the North, bring out their hearts facing the pain and tangled and discuss how to settle the scholars who enter the North restless soul by lyric.