Relevant bibliographies by topics / SONG DYNASTY

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'SONG DYNASTY'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "SONG DYNASTY"

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Yue, Teng. "Shi Jing culture of the song dynasty in China - song dynasty Ci in a musical context." OOO "Zhurnal "Voprosy Istorii" 2020, no. 10-4 (October 1, 2020): 159–65. http://dx.doi.org/10.31166/voprosyistorii202010statyi99.

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The song dynasty (960-1279) in Chinese history is divided into two stages: the Northern and southern song, and includes a total of eighteen emperors who reigned for a total of three hundred and nineteen years. The song dynasty attached great importance to literature and despised force. The song dynasty era is an era of prosperity for China’s commodity economy, culture, education, science. The song dynasty’s “Ci” genre is a kind of musical literature. The full name of the genre is “song dynasty Ci”, abbreviated as “Ci”. The song dynasty Ci are an integral treasure of Chinese culture and are cultural symbols of the era that cannot be ignored.
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JIANG, Xinchen. "The Reform of Ceremonial Music and the Construction of New Music in the Huizong Period of the Song Dynasty." Research On Frontiers, no. 1 (January 28, 2024): 29–37. http://dx.doi.org/10.62978/2401jxc2937.

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The Song Dynasty attached great importance to the performance of ceremonial music, and the Northern Song Dynasty experienced six large-scale music discussions. Emperor Huizong of the Song Dynasty was a renowned artistic emperor with a unique aesthetic outlook on music. His personal aesthetic led to the sixth reform of the Northern Song Dynasty’s ceremonial music, which created the Dasheng music with the personal element of Emperor Huizong of the Song Dynasty. After the formation of music, Yuefu was created. Dasheng Fu and Dasheng music can be said to be the pinnacle of Song Huizong’s personal pursuit. He attempted to fulfill his political ideals by playing Dasheng music. It can be said that the sixth reform of the Northern Song Dynasty was a selfperformance by Song Huizong.
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Lv, Chen. "A Study on the Ideological Connotation and Significance of Agricultural Poetry in the Northern Song Dynasty." Studies in Linguistics and Literature 7, no. 2 (July 17, 2023): p87. http://dx.doi.org/10.22158/sll.v7n2p87.

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The agrarian-related poems of the Northern Song Dynasty are far from the realistic creation tradition of the Book of Songs, the Yuefu folk songs of the Han Dynasty, “those who are hungry sing about their food, those who are working about their work”, and the realistic spirit of Du Fu’s “Three officials” and “three different” and Bai Juyi’s New Yuefu Movement, “Only songs live the people’s disease”. Through multiple contrast techniques, they fully show the miserable fate of the peasants under the heavy pressure of land, taxation, labor and other systems in the Northern Song Dynasty. It exposes the social situation of extreme disparity between the rich and the poor and sharp contradictions between classes, and expresses the complex feelings of compassion, hatred and guilt of scholars and literati. Influenced by the social culture of the Song Dynasty, the agriculture-related poems of the Northern Song Dynasty also showed the creative tendency of argumentation and prose culture, which was different from the previous poetry, and demonstrated the unique artistic style of the Song poetry.
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Peng, Ruiqi. "On The Representation of Song Poetry (Song Ci) to Song Dynasty Dance." Advances in Education, Humanities and Social Science Research 1, no. 1 (May 9, 2022): 72. http://dx.doi.org/10.56028/aehssr.1.1.72.

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Song Poetry is inseparable from Song Dynasty Dance. It usually reproduces Song Dynasty Dance by virtue of the concept, Song Dynasty Dance language and style. It is an important literature to study Song Dynasty dance. Among them, the reproduction of dance concept mainly involves the scene, type, and performance subject of the dance; The reproduction of dance language is often the expression of body language to describe the dance in the Song Dynasty; The reappearance of the style of Song Dynasty Dance involves two aspects: form and creative concept. Under the joint action of men and literati, Song Dynasty dance shows a new posture of introverted, exquisite, and elegant in the stylized framework. Obviously, the live dance of Song dynasty recorded in Song Poetry not only reproduces some of the real face of Song Dynasty dance, but also prepares for the re excavation and interpretation of Song poetry and Song prose, which has become the key to restore the whole history of Song Dynasty dance
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Huang (黃純豔), Chunyan. "China’s Tributary System and National Security in the Song Dynasty." Journal of Chinese Humanities 5, no. 2 (July 6, 2020): 149–70. http://dx.doi.org/10.1163/23521341-12340078.

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Abstract China’s ancient tributary system not only served the vanity of the dynasty but had multiple political implications, closely tied to the dynasty’s national security. The Song dynasty’s [960-1279] notion of security followed an overall policy of guarding the dynasty against external threats, surrounding barbarian nations, and maintaining domestic order. The stability and eventual collapse of the tributary system were closely tied to the domestic security of the Song dynasty and to the security of all the countries that participated in the system. The system constituted a dynamic and interactive security community.
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Ma, Shuhan. "Overview of Song foreign trade policy." Highlights in Business, Economics and Management 35 (June 16, 2024): 219–23. http://dx.doi.org/10.54097/bmc87036.

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China's maritime foreign trade has a long history. During the Tang Dynasty, there was already a full-time official - the Sea Market Supervisor - in charge of overseas trade. Since the beginning of the Five Dynasties and Ten Kingdoms, Nanhan, Wuyue and Min have joined the overseas trade in order to seize greater interests, such as Guangzhou, Quanzhou and other ports even more so. By the Song Dynasty, the scale of marine foreign trade was far greater than that of the previous dynasty, and it was incomparably prosperous. This paper first analyses the reasons for the change of commercial policy in the Song Dynasty, and then briefly analyses the reasons for its development through the Song Dynasty's foreign trade and foreign policy.
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Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.

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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Chao, Yueqin. "Recognizing the Impact of Daoism on Song Dynastys Landscape Painting." Communications in Humanities Research 4, no. 1 (May 17, 2023): 663–68. http://dx.doi.org/10.54254/2753-7064/4/20221027.

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Daoism, as one of the major Chinese ideologies in Chinese history, devoted in finding the way to build harmony between society and nature. This paper investigates Daoisms impact to Song Dynasty Landscape paintings. The paper is going to compare two representative Song Dynasty landscape paintings, and combining the Daoisms classic Laozi and other documents to analyze Daoisms ideologys impact to Song Dynasty Landscape paintings and its painting skills. By determining the Taoisms influence to the Song Dynastys landscape paintings, it can help us to understand the influence of religious culture and philosophical thought on artistic artifacts in ancient China, and in turn, to some extent, the influence of recent iterations of Chinese thought on art and even literature. As a result, we find that Daoism has significant and imperceptibly impact in forming the Song Landscape painting style, this could be seen as an example of determine the philosophical ideology impact to the art in ancient China, and might been used as an analogy to examplify the impact of religion and philosophical ideology to modern Chinese arts and literature.
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He, Jing, Mengjia Gu, and Yuwen Zhang. "A Probe into the Renaissance of Confucianism in Song Dynasty and Women's Politeness." Lifelong Education 9, no. 5 (August 2, 2020): 49. http://dx.doi.org/10.18282/le.v9i5.1203.

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The revival of Confucianism in the Song Dynasty is of great significance to the development of the Confucian school.Based on the development of Confucianism and systematic research, it can be found that the Song Dynasty is an important period of Confucianism revival, and also a period that cannot be ignored in the study of Confucianism. In general, the Confucian renaissance in the Song Dynasty was caused by many reasons, and under the background of the Confucian renaissance, Taoism and Buddhism have developed significantly, which has caused a large number of female rituals in the society.Analysing and studying the Confucian renaissance in Song Dynasty and the phenomenon of women's rites and buddhas are significant for understanding the cultural environment of Song Dynasty and understanding social life in Song Dynasty.The article makes a concrete analysis of the Confucian renaissance in Song Dynasty and the phenomenon of women's ritual Buddha, aiming to clarify the specific reasons of Confucian renaissance and the cause and influence of women's ritual Buddha.
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Zhao, Siqi, and Junhao Zhou. "The Dual Interaction Between the Taijian System and the Monarch’s Self-discipline Consciousness Theory in the Song Dynasty." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 159–68. http://dx.doi.org/10.54097/y5131w61.

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There have been numerous studies on the Taijian system in the Song Dynasty. While a few scholars have mentioned the monarch’s self-discipline consciousness, hardly any have paid attention to the dual interaction between the monarch’s self-discipline consciousness and the Taijian system. Furthermore, very little attention has been given to the unique role it played in the politics of the Song Dynasty. This paper takes the monarch’s self-discipline consciousness as its entry point to examine the Taijian system of the Song Dynasty. It adopts methods such as literature research, comparative analysis, and case studies to systematically elaborate on the definition of the monarch’s self-discipline consciousness theory, the reasons for its emergence, as well as its manifestations and influence in the Song Dynasty. Then, the paper delves into the operational basis, particularity, and the role of the Taijian system in Song dynasty politics. The paper argues that there existed a dual interactive relationship between the particularly heightened sense of self-discipline in the Song Dynasty monarch and the reasons for the establishment and operation of the Taijian system. This relationship had a profound impact on the centralized political structure of the Song Dynasty. The findings of this study provide new perspectives and reference value, addressing gaps in the study of the Song Dynasty political system.
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Dissertations / Theses on the topic "SONG DYNASTY"

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Chan, Kar Yue. "Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.

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Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.
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Choi, Sung-hei, and 蔡崇禧. "Scholar-officials' penchant for flower appreciation in Song Dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46425743.

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梁李步正 and Li Po-ching Leung. "The Pianwen of the six prose masters of the Song dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B3120773X.

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Eddy, Robert Andrew. "Heresy and orthodoxy in Song dynasty China (960-1279 C.E.)." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18771.

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This thesis considers the question of heresy as it relates to the context of Song dynasty China (960-1279 C.E.). It analyzes the ways in which the Song Imperial authorities constructed a religious orthodoxy and defended it through the legal system. It will deal with how heresy is defined in a multi-religious polity without a unified church, such as the Catholic Church of the medieval West. This thesis will argue that a definition of heresy derived from western heresiology is a valid analytical model and that Song China had a religious orthodoxy constructed around the person of the Emperor.
La présente thèse prend comme sujet la question d'hérésie dans le contexte de la dynastie des Song en Chine (960-1279 C.E.). Elle analyse les méthodes donc les autorités impériales des Song ont construits l'orthodoxie religieuse et comment ils l'avaient défendu en utilisant leur système légal. Elle considère aussi la question de comment peut-on définir l'hérésie dans une société multi-religieuses sans avoir une église unifié, comme l'église Catholique en Europe du moyenne âge. On suggère que la définition et modèle d'hérésie qu'on a prit des héréseologistes dans l'Ouest reste valide quand il est appliqué en ce contexte et que la Chine des Song avaient une orthodoxie religieuse construit autour du personnage de l'Empereur.
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Cheung, Suk-yu, and 張淑瑜. "Cultural and educational development in Chaozhou in the Song Dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31928067.

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Du, Ruohong, and 杜若鴻. "The interrelation between poetry and politics in the Northern Song dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46250529.

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Tang, Chun-pong, and 鄧振邦. "A study of Li Gang (1083-1140)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26828455.

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Ma, Chi-kin Patrick, and 馬志堅. "The death of Yue Fei (1103-1142)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952239.

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Wong, Wai-han June, and 黃慧嫻. "Huangchao Dashiji and the imperial examination of the South Song Dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40203402.

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Cheung, Suk-yu. "Cultural and educational development in Chaozhou in the Song Dynasty Song dai Chaozhou de wen jiao fa zhan /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31928067.

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Books on the topic "SONG DYNASTY"

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Ingram, Scott. The Song dynasty. San Diego: Blackbirch Press, 2003.

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Li, Xu. Song yan: Delicacies of the Song dynasty. Beijing Shi: Xin xing chu ban she, 2018.

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Shi, Nan. Tang Song ming pian song du. Nanjing: Jiangsu shao nian er tong, 1999.

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Nanjing Shi (China). Wen hua guang dian xin wen chu ban ju. Tang Song yan pu. Nanjing Shi: Jiangsu mei shu chu ban she, 2013.

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Hongquan, Huang. Anthology of Song Dynasty ci-poetry. Beijing: People's Liberation Army Pub. House, 1988.

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Guo, Yanhua. Song Xia zhan zheng yu bei Song wen xue. Beijing: Shang wu yin shu guan, 2020.

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Xiaoli, Li. Song shi Song zhu kao lun. Beijing: Zhongguo she hui ke xue chu ban she, 2018.

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Seagrave, Sterling. Song jia wang chao: The Sung dynasty. Taibei Shi: Feng yun shi dai chu ban gu fen you xian gong si, 1995.

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Shi, Yongyou. The Diamond sutra before the Song dynasty. Los Angeles: Buddha's Light Pub., 2009.

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Zhong, Lei. Tang song ba da jia wen chao. Haerbin: Haerbin chu ban she, 2004.

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Book chapters on the topic "SONG DYNASTY"

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Ch’ien, Mu. "The Song Dynasty." In Merits and Demerits of Political Systems in Dynastic China, 59–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-58514-6_3.

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Foster, Robert. "The Southern Song dynasty." In Routledge Handbook of Imperial Chinese History, 197–212. London; New York: Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315726878-17.

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Fan, C. Simon. "Nationalism in the Song Dynasty." In The Socioeconomics of Nationalism in China, 31–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003186267-4.

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Jian, Zhang, and Zhou Jianzhi. "Ci in the Song Dynasty." In Concise Reader of Chinese Literature History, 291–308. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-5814-6_21.

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Jian, Zhang, and Zhou Jianzhi. "Poems in the Song Dynasty." In Concise Reader of Chinese Literature History, 275–89. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-5814-6_20.

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Xiuhui, Li, and Xu Kuangdi. "Iron Statues in Song Dynasty." In The ECPH Encyclopedia of Mining and Metallurgy, 1–2. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-0740-1_597-1.

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Zhaopeng, Wang, Zhu Wei, and Li Minjie. "The Spread of Wall-Inscribed Poems in Song Dynasty." In Literary Communication in Song Dynasty, 56–89. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032712512-4.

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Zhaopeng, Wang, Zhu Wei, and Li Minjie. "Introduction." In Literary Communication in Song Dynasty, 1–15. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032712512-1.

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Zhaopeng, Wang, Zhu Wei, and Li Minjie. "The Remuneration for Writers in Song Dynasty." In Literary Communication in Song Dynasty, 125–39. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032712512-6.

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Zhaopeng, Wang, Zhu Wei, and Li Minjie. "The Spread of Poetry Anthologies in Song Dynasty." In Literary Communication in Song Dynasty, 42–55. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032712512-3.

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Conference papers on the topic "SONG DYNASTY"

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Xu, Xinghua. "Religious policy of the Song dynasty emperors." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.289.

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Luo, Hongjuan. "Research on Song Dynasty Literature and Communication." In 4th International Symposium on Social Science (ISSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/isss-18.2018.118.

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Lu, Cheng, and Cheng Ge. "Analysis of the arts and crafts of Tang Dynasty and Song Dynasty." In 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ssehr-17.2018.82.

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XING, Cheng. "The Comparative Study on the Cavalry of the Liao Dynasty and the Song Dynasty." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.073.

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Yejing. "An Iconological Study of Genre Paintings in Song Dynasty." In 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210806.074.

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Wang, Xiaoguang. "Color Research of Chinese Traditional Architecture in Song Dynasty." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.149.

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Song, Dongxia. "Simple Analyses on Reading of Women in Song Dynasty." In 2017 International Conference on Society Science (ICoSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icoss-17.2017.16.

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Wang, Ke, Chunfang Li, and Xiaoyan Zhou. "Complex Network Analysis Based on Politics of Northern Song Dynasty." In 2019 6th International Conference on Dependable Systems and Their Applications (DSA). IEEE, 2020. http://dx.doi.org/10.1109/dsa.2019.00076.

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Yuan, Yihong, and Xuemei Liu. "Research on Decorative Design of Porcelain Censers in Song Dynasty." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.083.

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Song, Dongxia. "Research on Ideological Concepts of People in Song Dynasty from the Perspective of Folk Songs and Proverbs." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.89.

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Reports on the topic "SONG DYNASTY"

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Gundacker, Roman. The Descent of Kawab and Hetepheres II. Verlag der Österreichischen Akademie der Wissenschaften, December 2018. http://dx.doi.org/10.1553/erc_stg_757951_r._gundacker_the_descent_of_kawab_and_hetepheres_ii.

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According to the communis opinio, prince Kawab is a son of Cheops. This assumption is primarily based on G. A. Reisner’s conclusions about the location of mastabahs and queen’s pyramids in the East Field and on three relief fragments from mastabah G 7110/20, which W. S. Smith ingeniously assigned to a scene naming Kawab and his mother Meretites. Early after G. A. Reisner had published the first part of his view on the history of the royal family of the Fourth Dynasty, substantial critique was brought forward by W. Federn. Following the latter, Kawab should be considered a grandson of Sneferu because, apart from mastabah G 7110/20 in Gizah, another mastabah at Dahshur bears witness of him. Even though it is now safely determined that the two are neither one and the same person nor contemporaries, W. Federn’s review has been taken as a starting point for further critical investigation by some scholars who came to the conclusion that Kawab was rather a son of Sneferu.
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