Academic literature on the topic 'Shun-Chu'

Students of ancient China learn early on the story of Yao and Shun . The great emperor Yao (traditional reign dates, 2356–2255 B.C.) chose the virtuous Shun as his replacement over his own son Tan Chu . Shun was the model of filial piety: when his parents and brother tried to kill him a number of times, he saw the fault as his own and tried all the harder to win their love and approval.

AbstractThis article includes a line-by-line translation and textual analysis of the Warring States period Chu script bamboo slip manuscript, Zigao 子羔. It argues that the manuscript differs from the transmitted Confucian tradition, but would have been considered a ru 儒 (“Confucian”) text. Unusual features include: (1) The disciple is Zigao, who is described negatively in the Lun yu. (2) The term tian zi 天子, “son-of-sky/heaven” is used literally, to refer to the divinely conceived progenitors of the three royal lineages. (3) The term san wang, “three kings”, refers to these progenitors rather than the founding rulers. (4) Confucius advocates abdication. (5) The progenitors of the dynastic lineages, rather than the founding rulers, are juxtaposed to Shun 舜, who received the rule from Yao because of his merit. A Chinese edition, with direct transcriptions and alternative readings of the Chu script graphs, is appended.

AbstractIn this article I provide a complete translation and analysis of the recently unearthed bamboo manuscript, Rong Cheng shi, from the Shanghai Museum collection. This manuscript presents a previously unknown version of China's early history from the time of legendary rulers Yao, Shun, Yu and their predecessors to the establishment of the Zhou dynasty. The narrative is critical of both the dynastic principle of rule and “righteous rebellion”, and advocates instead the ruler's abdication in favour of a worthier candidate as the best mode of rule; in addition, it hints at the unusually active role of “the people” in establishing the supreme ruler. Moreover, despite being associated with the southern state of Chu, the Rong Cheng shi presents a unitary view of the past, which rejects the multi-state world and promulgates the notion of the unified “All-under-Heaven” as singularly legitimate. The text has far-reaching significance in terms of both history of Chinese political thought and of early Chinese historiography.

Cette thèse analyse les rapports entre l’idée de décolonisation et les arts plastiques à Taïwan dans la seconde moitié du XXe siècle. Le contexte historique de Taïwan est marqué par un certain nombre d’expériences de colonisation, telles que la colonisation japonaise, mais aussi la quasi-colonisation que représentent les pratiques coercitives et l’autoritarisme du parti nationaliste venu de Chine continentale, ainsi que l’impérialisme culturel américain. Un retour historique sur la situation coloniale de Taïwan reflète le caractère emboîté de sa culture. Le corpus retenu comprend sept œuvres porteuses d’un regard spécifique : le tableau Pastoral de Lee Shih-chiao en 1946 ; le portrait de Chiang Kaï-shek peint à l’huile par Li Mei-shu en 1975 ; une série de photos retravaillées Voyage dans le temps de Chen Shun-chu de 2001 à 2003 ; le portrait fusionné Unir la Chine à travers les Trois Principes du peuple de Mei Dean-e en 1991 ; Représenta.tiff de Chou Yu-cheng exposée trois fois sous des formes changeantes entre 2008 et 2012 ; l’Exposition d’Automne 1966 de Huang Hua-cheng en 1966 ; le film Frontières d’Empire de 2008 à 2009 de Chen Chieh-jen. Nous faisons l’hypothèse qu’elles sont représentatives chacune d’une époque et d’un rapport particulier à la problématique de la colonisation. Certaines expriment un point de vue colonisé : celles qui importent, par exemple les codes esthétiques japonais ou européens. Des institutions – les Expositions officielles d’art – en véhiculent les principes. D’autres œuvres réalisées par les artistes de génération suivante portent un regard critique sur ces références culturelles héritées du moment colonial. Ces artistes remettent aussi en question les valeurs dominantes.Ceci permet de poser la question : quels acteurs mettent en œuvre un processus de décolonisation des arts de 1945 à 2012 ? Cette action est-elle terminée ? En nous inscrivant dans une démarche d’histoire culturelle et en empruntant à la sociologie des arts, nous avons analysé les modes d’élaboration des œuvres et leur réception critique, ainsi que le rôle des institutions de médiation, en particulier les musées. L’analyse permet d’identifier un basculement entre des œuvres inscrites dans un contexte colonial et des œuvres qui soit les critiquent, soit s’en affranchissent, ce qui représente deux modalités du point de vue critique sur le processus colonial à l’œuvre dans les arts plastiques<br>This thesis analyses the relationship between the idea of decolonization and the plastic arts in Taiwan in the second half of the twentieth century. The historical context of Taiwan has been marked by a number of colonization experiences, such as the Japanese colonization, but also the quasi-colonization represented by the coercive practices and the authoritarianism of the nationalist party of China, as well as the American cultural imperialism. A historical overview of the colonial situation in Taiwan reflects the nested character of its culture. The selected corpus includes seven works bearing a specific view: the painting Pastoral of Lee Shih-chiao in 1946; the portrait of Chiang Kai-shek painted in oil by Li Mei-shu in 1975; a series of reworked photos Journeys in Time of Chen Shun-chu from 2001 to 2003; the merged portrait The Three Principles of the People Reunite China of Mei Dean-e in 1991; Representa.tiff of Chou Yu-cheng exposed three times under different formats between 2008 and 2012; École de Great Taipei Autumn Exhibition by Huang Hua-cheng in 1966 ; the video work Empire’s Borders from 2008 to 2009 by Chen Chieh-jen. We make the hypothesis that these works are each representative of an era and has a particular relationship with the colonization issue. Some express a colonized point of view: some of them import, for example the Japanese or European aesthetic codes. Institutions – official art exhibitions – convey the principles. Other works by the following generation of artists take a critical look at these cultural references inherited from the colonial moment. These artists question also the dominant values. This raises the question: which actors implemented a process of decolonization of the arts from 1945 to 2012? Is this action completed? By entering into an approach of cultural history and borrowing the one from the sociology of arts, we have analysed the methods of the works’ elaboration and their critical reception; the role of institutions of mediation, especially museums. The analysis enables to identify a switchover between works placed in a colonial context and works that either criticize them or free themselves from. This represents two modalities of the critical point of view on the colonial process at work in the plastic art