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1
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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Ng, Kam-lung, and 吳錦龍. "A study of the Yuan period criticism of the Song poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634085.
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傅瑞暾 and Shui-tun Fu. "The formation and development of precincts and alleys in Linan during the Southern Song Period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B26826161.
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何梓慶. "明代唐宋派文學思想研究= A research on literary theory of Tang-Song school in Ming dynasty." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/566.
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現時對於「唐宋派」的研究，學者往往以流派論爭的角度，把唐宋派置於復古派的對立面，認為四人的文論主要都是針對「前、後七前子」而發。此說固有道理，問題是，王、唐、茅、歸都是獨當一面的作家，但在流派的框架下，則只著重他們的一致性，以及與「復古派」針鋒相對的情況，而四人的差異，及其現實關懷，都在此大敘述中隱而不見了。故本文將把四人的文學主張，結合社會、政治制度及生平經歷加以考察，希望呈現出他們文學思想的差異性。並以此為基礎，說明王、唐、茅、歸四人當時是不同角度出發，希望在「文必秦漢」的風氣下，建立一道從「唐宋」上達「秦漢」的學文路徑。全文分成六章。第一章是緒論，說明研究動機及價值。第二章則先說明歸有光不與王、唐、茅三人結交的原因，並藉以呈現歸有光與王、唐、茅三人在文壇的不同佔位，以此為基礎，重新探討「唐宋派」作為一個流派的特質，提出以「陣營」取代「流派」來描述四人的關係，從而說明「唐宋派」文論主張的產生，除了為回應擬古風氣，其實還針對著當時八股文衰落的問題。第三章則討論唐宋派四人的主張，如何建構從「唐宋」到「秦漢」的復古路徑。第四章則討論唐宋派「以古文為時文」的理論內涵，探討四人從不同的角度理解時文的衰落，何以最後都得出「以古文為時文」的結論。第五章則討論唐宋派如何面對當時古文創作的困境，到了明中葉，明代立國已近百年，但古文創作一直較為沉寂，台閣文人及「復古派」先後領導文壇，但是問題始終未能解決。「唐宋派」各人為了提升古文創作的水平，提出師法唐宋，希望把古文從剽竊的困境中解救出來，由於各人對古文問題的定性不同，故以不同的策略嘗試提升古文創作的水平，本章即以此為中心，旨在呈現出四人文論主張的差異性。第六章為餘論，旨在討論文學史的撰寫方式與及唐宋派文論的局限。 In the field of researching "Tang-Song School" (唐宋派) now, scholars tend to view the object via an angle that they are just debate and struggle between schools, juxtaposing "Tang-Song School" with "Classical school" (復古派) in a binary opposition and thinking that literary claims of four leaders' are pinpointed on the "Classical school". This discourse undoubtedly has its plausible proof yet the main overlook is that Wang(王慎中), Tang（唐順之）, Mao（茅坤） and Gui（歸有光） are independent writers and literary theorists whose differences and human concerns are neglected in such a grand narrative which only puts emphasis on their homogeneity and their countering role against "Classical school". This thesis, hence, is going to examine the four's literary claims altogether with their relations to the society, the institution and the individual life respectively so as to show the difference of literary claims among the four. With the foundation of knowing their differences, it is proved that amidst the social atmosphere of "QinHan is the best for learning prose"(文必秦漢), Wang, Tang, Mao and Gui indeed aspired to found a literary learning path that approaches QinHan's level through studying Tang-Song prose from their respective angles. The thesis is divided into 6 chapters. Chapter 1 is introduction which shows the motive and value of this research. Chapter 2 will firstly discuss why Gui You Guang does not make acquaintance with Wang, Tang, Mao so as to show the different nature and occupations of theirs in the Ming literary community. Based on this clarification, the features of Tang-Song School as a school is called into re-examination that "a camp which shares similar belief" is more suitable to define their relationship, and subsequently, it is hoped to show that claims of Tang-Song Camp also aim to react to the decline of "Eight-part Essay" (八股文) except echoing to the literary trend of imitating the ancient classics. Chapter 3 discusses the fours' claims of how to construct a renaissance path from TangSong to QinHan. Chapter 4 discusses the theoretical idea of Tang-Song Camp's "regarding classic work as present work" (以古文為時文), telling how four theorists view the decline of "Eight-part Essay" in their respective angles and why they finally too share this same conclusion. Chapter 5 discusses how Tang-Song Camp faces the plight of classical prose writing. Until the period of Mid-Ming, Ming Dynasty has been found for almost a hundred year, classical prose writing however remains silent and is not actively embraced. Taige School (台閣派) and "Classical school" have led the literary community once but the problem of decline have never been solved. For levitating the level of classical prose writing, Tang-Song Camp then raises the idea of learning Tang-Song prose with the hope of saving classical prose writing from the plight of plagiarism. Due to the four have their own understandings and perspectives on the decline issue, they suggest different strategies to enhance the quality of classical prose writing. This chapter then focuses on these strategies to manifest the differences among four literary claims. And lastly, Chapter 6 is remark which aims to discuss ways of writing literature history and limits of Tang Song Camp's theories.
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Tuan, Cheng-En, and 段承恩. "Song Dynasty's Frontier Policy and Facility against Liao Dynasty." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/45137894745223678002.
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博士中國文化大學
史學系
101
Northern Song Dynasty undertaken military geography is the loss of the natural terrain defense, so the strategic geography of Liaoning is rendered relatively weak, with only the dangers that can pass, so the lack of dependable natural barrier under the defense can only rely on man-made fortifications, Song Liao defense and therefore corresponds to the right, make the first line of Tong Park, forest defense, the second line will stick fortresses to zonal distribution of defense, and the third line of the Yellow River natural barrier to protect the capital. This three-line defense establishment, as described in the chapters of this thesis is indeed to reduce troops deployed in northern Yu Liao, Song Liao sides in a detailed assessment of the use of force after the adoption of measures, first berth in the pond has been done on defense the guards rushed to the land, forcing the Song Liao ride had turned suddenly as the default place to be washed; also for the prevention Liaoning Song court unprepared to take advantage of the land of the attacks, planting elm willow that equipment, so Liao cavalry useless. This thesis can be divided into the following three parts. Part I: Includes first two chapters, the first chapter of this thesis is the introduction explain motivation and research methods, by ancient literature and previous studies, analyzed and discussed the feasibility study architecture. Chapter Two: "Five Dynasties right Liaoning border geography and policy", first outlined during the Liao Dynasty origin and tribal division situation, the Khitan Liao Dynasty in the Five Dynasties period of development, has been to make a Wrangler Yelu Tekong south elaborated its Tang Song Dynasty geographic changes will make a note, in the Five Dynasties to the Song Liguo reason and to partition points, the final analysis of Liao's borders and border defense system. Part II: Including Chapter Three: "Song of the city for the Liao defense policy and Facilities", Chapter 4: "Song for Liaoning Tong Park conservancy facilities, "Chapter 5:" Song Yu Liao forest policies and facilities. "After analyzing the North Song Liguo mainly of foreign defense policy, and the evolution of national defense construction, Liao and Song on border relations, national defense policy changes through the development of facilities look border by border during the construction of the Song and Song border military structures and deployment, military equipment, military support and other systems, see the various issues raised in earlier chapters, finishing a systematic analysis of the pond Park, Yulin, Fang Tian, forts, fortresses for an associated series, and to the previous Institute will supplement insufficient part, so that "Song for Liaoning border policies and facilities" research to perfect, is also the subject of this thesis lies. Part III: Content to Chapter 6: "conclusion" of the previous chapters echoed and was the former General to submit a comprehensive chapter to verify the Northern Song Liao effectiveness of defense facilities and defense policy is appropriate for the Northern Song Dynasty, whether as predecessors words, "without any merit", put forward different views and comprehensive study previous chapters, make the final conclusion.
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Ho, Ciao-Cian, and 何效賢. "Redesigning the Song Dynasty books." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/29991195907916169596.
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碩士中原大學
商業設計研究所
95
Abstract The design is prompted by development of ancient books. To narrow down extent of numerous items, books in Song dynasty, albums of paintings or calligraphy, is aimed directly at for analyzing the mode features. Based on the features, the inspiration of creativity, I attempted to probe a sparkling place for re-development of ancient books. In the process of research and creating, I adapted the features refined from Song dynasty books to construct the framework and turned it into the real object and its associated merchandises. The essay is structured of five chapters: Introduction, Discussion about Related Literatures, Case Analysis, Achievement and Conclusion, respectively. Chapter one interprets the background, motivation, objectives and process of creation. Chapter two is about the collection of research resource─books of successive dynasties. Chapter three focuses on analyzing Song dynasty books to explore its features. Chapter four describes the process from setting up framework to the final product, and Chapter five, the conclusion, discusses about the encountered problems and solutions during the producing process.
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"Two Poems of the Song Dynasty." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.15919.
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abstract: TWO POEMS OF THE SONG DYNASTY is an original composition for soprano voice and orchestra. The duration of this two-movement work is approximately 10 minutes. The instrumentation is: Flute 1, 2, Oboe 1, 2 (doubling English Horn), Clarinet in Bb 1-2, Bassoon 1-2, Trumpet in Bb 1-3, Horn in F 1 - 4, Tenor Trombone 1-2 , Bass Trombone, Tuba, Timpani, Vibraphone, Cymbals, Triangle and Strings. This piece is of moderate difficulty; to be sung in Chinese with elements of sprechstimme and a vocal range from C4 to A5. The two movements, "Sheng Sheng Man" and "Yong Yu Le" refer to old poetic forms from the Song Dynasty (1127-1279). The poets Li Qingzhao and Xin Qiji provide contrasting laments for the wars of their time; the first is an introverted metaphor of sorrow and the second is a more explicit recollection of old times.Dissertation/Thesis
M.M. Music 2012
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Lin, Chem-hsiang, and 林禎祥. "A Atudy on Song Dynasty; Shen-hu." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/17500781500061448099.
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碩士東吳大學
中國文學系
93
ABSTRACT A simple identification of Shan-Shu is books encouraging people to be philanthropic. This kind of books help populations develop their good deed and are popular in the street. Although Shan-Shu is not weighted as much as classics, it has contributed incredibly to civilizer at the Chinese society. Therefore, to completely explore Shan-Shu, this presenting dissertation focus on the Song Dynasty in which Shan-Shu became as a category. Since this dissertation looks at the period of time that Shan-Shu developed as a subject, realizing the origin of Shan-Shu is an important task. Moreover, by discussing and analyzing those books finished at the Song Dynasty from different points of view, a more thoughtful opinion can be generated. The presenting dissertation is composed by eight chapters. The first three chapters are Introduction, The Structure and Division of Shan-Shu at the Song Dynasty, and The Historic Background of Shan-Shu Development at the Song Dynasty, respectively. These three chapters concentrate on background information of Shan-Shu and investigate questions such as why Shan-Shu is formed in the Song Dynasty and what the origin is. Conceptual problems of Shan-Shu are emphasized in the following three chapters, Chapter Four: The Development of Retribution in Shan-Shu during the Song Dynasty, Chapter Five: The Belief in Si-Ming Shen of Shan-Shu, and Chapter Six: The Subjects Illustrating in Shan-Shu during the Song Dynasty. These three chapters reveal the conceptual problems of Shan-Shu thought profoundly discussing issues about the blend of retribution from three religions, the belief in Si-Ming Shen and the topics of Shan-Shu. The last two chapter, Chapter Seven: The Value, Influence and Development of Shen-Shu at the Song Dynasty, and Chapter Eight: Conclusion summarize the research results, evaluate Shen-Shu at the Song Dynasty and its shaping afterward, all of which can provide useful information for future studies. Song Dynasty; Shen-Shu; Philanthropic; Si-Ming; Taoism; “Tai Shang Gan Ying Pian”
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HAN, WANG TZU, and 王子涵. "Entertainment in the Song Dynasty-Washe Culture." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/695hpk.
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碩士東吳大學
歷史學系
101
The Song Dynasty was a time when the life for Chinese citizens was lively and varied. The diversified entertainment indicated a matured socioeconomic status in China. The dimension for entertainment is wide and “Washe culture (瓦舍文化)” is definitely one of the most representative because it stands for a mixed entertainment for the general public. Much economic development and many economic phenomena in Washe culture are worthy of exploration. The boom of Washe culture, on a certain degree, reflected the prosperity from economical development and promotion of living standard. We seem to be able to define “Washe culture” literally. However, it actually reveals one side of the complicated social life. The bloom in entertainment in the Song Dynasty wasn’t facilitated by a single factor but by many social and economical factors. Therefore, from the other way around, the process from establishment and development to the peak for Washe significantly influenced the economy, society and culture in the Song Dynasty. Entertainment isn’t a part of formal history while its real impact was utterly meaningful in the history.
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Hsu, Chih-Wei, and 許芝瑋. "Mourning and Reinstatement of Song Dynasty Officials." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/32054491756520951309.
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碩士國立臺灣大學
歷史學研究所
102
Confucianism believed that mourning was the important way for sons to practice filial piety. However, the mourning began to get attention during the Eastern Han Dynasty and established formal system since the Tang Dynasty. Its development process was highly related to the formation of Chinese Medieval Aristocratic Families. The society of commoner had been formed since the Song Dynasty and many officials were commoner. They did not have the tradition of mourning. Besides most of them got no pay during the 27 months of mourning. In contrast with them, the Chinese Medieval Aristocrat before the Song Dynasty could get financial support from the manor and family even though there was no salary for them. So this thesis will study the reasons why the mourning could exist in the Song Dynasty and how it was influenced by the change of the environment. At first, the establishment and adjustment of mourning and reinstatement rules were examined. The Renzong’s period played an important role. Before the end of Sung-Xia war in 1042, the political environment and the military demands took priority to the filial piety when the government made policy decision. However, due to the development of Confucianism during the Song Dynasty, the officials who needed to mourn become more and more. And gradually mourning was deemed as the standard behavior of scholar-officials. The second, the officials’ thinking and practicing related to mourning and reinstatement are analyzed. It can be found that reinstatement was deemed as the grace of the emperor and the loyalty to the emperor. During the Southern Song Dynasty, it became the mainstream that the civil officials insisted on mourning and refusing reinstatement. On the other hand, the military officials easily suffered the dilemma of loyalty and filial piety. If they refused the reinstatement, they might be deemed as disloyalty or making sacrifices to nation’s security. This situation highlighted that the mourning was deemed as a symptom of scholar-officials’ identification. At last, the mourning thinking and living of the Song Dynasty officials were discussed. In the Song Dynasty, most officials emphasized on public field of mourning, and there were few rituals for mourning living. Although some officials of the Northern Song Dynasty who lead the development of Confucianism began to place importance on mourning living, but they made limited influence. As the Dao-Xue thrives, more and more officials paid attention on the living place, behavior, costume, foods, and activities of mourning. They thought that the scholar-officials should follow these rules.
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Chen, Hsing-Ju, and 陳信如. "The Confucian Classics in the Song Dynasty." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/17577378884630311159.
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碩士淡江大學
中國文學系碩士在職專班
98
Chinese books were mainly written on bamboo strips and silver scrolls two thousand years ago and then transcribed on paper since the invention of paper by Cailun. Their circulation was limited because of manual production. Since the invention and application of printing, the Song Dynasties became an important period for the cultural prosperity of Chinese history of which the rise of woodblock printing industry was in particular representative. The purchase and collection of manuscripts, carving of books, printing of books, issuance and sale of books, and copyrights, all gradually came as a result of printing publication. According to scholars’ investigation, Chinese woodblock printing likely originated in the Tang Dynasty, becoming widespread in the Song Dynasties. The history of “printing” had been rich in China from the Tang Dynasty through the Song and Yuan Dynasties. Hence, printing industry was given due attention by each class of the society and greatly influenced people’s daily life since the Song Dynasties. With the establishment of the Song Dynasty, a chaotic phase of division throughout China was put to a close. Swiftly, the central government assumed the sole commandership of the military and began to promote civilian rule and recruit intellectuals, placing the civilian above the military. To this end, the court favored Confucians, selected civilian officials by expanding imperial examination system, established official schools on a large scale, and promoted education. This development of culture gave the Song people a greater demand for books and with the newly emerged paper and ink industry and the progress of technique, woodblock printing industry thrived soon. The central massively printed and publish the Confucian classics through national institutes for the entire country. Besides, people were also permitted to borrow, print, and even resale these printed works. It became a fashion during the Southern Song Dynasty that local officials printed books. The printing industry by civil booksellers increasingly developed. Thus, many places all over the country became centers for book-printing since it was highly profit-making. Chinese culture has been centered on Confucianism while the latter has in turn been based on the Confucian classics. The Northern Song Dynasty made possible the wide circulation of the Confucian classics with various annotations among the Confucian scholars by printing and publishing the old and new versions of the classics. After the Southern Song Dynasty, the woodblock printing of the Confucian classics developed so further that the classics with complete annotations and interpretations, official and private alike, began to be in fashion. The publication of the Confucian classics was in connection with the development and promotion of Confucian scholarship. To shed light on the contribution made by the Song publication of the classics and its features and influence, this thesis, against the social background from the Tang through Song Dynasties, gathers related written materials on the above-mentioned Song-printed Confucian classics and analyzes their birth, features, and differences. In the end, this thesis attempts to clarify the value and contribution by the Song Confucian classics through a general review and analysis.
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Lu, shiu-mei, and 羅秀美. "Song dynasty accept Tao yuan-ming reserch." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/20164601961274256782.
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Wu, Chao-I., and 吳昭儀. "Academia And Culture of Liu-Song Dynasty." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/55768150929273441481.
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碩士國立臺灣大學
中國文學研究所
99
This thesis will aim to explore the full view of academia and culture of Liu-Song Dynasty; and further, find out characteristics of academia and culture of Liu-Song dynasty. Generally speaking, scholars focus their eyes on the background of Liu-Song dynasty. Formerly, emperors and nobles contended for the political power; the explanation and commentary of the historical records were creatively. Yan Yan-Zhi, Xie Lin-Yuen and Bao Zao were three important literary authors during the Yuan Jia period. The researches above-mentioned were discussed alone and the whole historical background were excluded. Therefore, many changes in sixty years were unapparent. During Liu-Song period, academia and culture are developing. Achievements have meanings of intergrade even they are not brilliant. Buddhism and theories are popular in Liu-Song dynasty. Buddhism are beginning Sinicized. Besides, Taoism is also reformed. The research will combine the developments of every aspects such as the classics, Historiography, Zi Xue, literature, Buddhism and Taoism and discuss how these phenomenon interwork in Liu-Song dynasty. There will be four sections observed in the thesis. First, the competition between emperors and nobles has influence on the customs. Second, The Classics and Historiography revive, besides, philosophy and Zi Xue decline in this period. Third, writing realistically, using allusions, learning extensively and simulating become distinguishing features in literature. Forth, each social class participates in religion. Religious studies are proceeded. When each part of the research is commanded, the spirit passes through the times will appear.
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CHANG, I.-CHENG, and 張詒政. "The study on Song Dynasty Self writing poetry." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/p62pjp.
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Huang, Yao-Ching, and 黃耀慶. "Funeral of Emperor and Empress in Song Dynasty." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/24267280120735029774.
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Kuo-ping, Wan, and 萬國平. "The culture of relieving disaster on Song dynasty." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/09865610969682474055.
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碩士中國文化大學
史學研究所
96
Dissertation Abridgment It can’t avoid when nature disasters happened. Every different place, people and eras, all has their own acts of mercy. We call it is the culture of disaster relief, because domestic politics, economics and religions are all affecting on it.The thesis will talk about this subject at Song dynasty and it has five chapters and fifteen paragraphs. The first chapter is exordium and it has three paragraphs. It shows why I do this study and the performance of this study. The second chapter is the culture of disaster relief and politic in Song dynasty. It has four paragraphs and treats the influence of politicians and politic on disaster relief. The third chapter is the relation between religions and the culture of disaster relief. This chapter has four paragraphs and treats religions on two parts. If the disaster happened, what attitude did people have? And if the religious power higher how did the authority do? The forth chapter has four paragraphs and treats on how did the acts of mercy proceed? The last chapter is conclusion and it will recur what the culture of disaster relief in Song dynasty is.
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YI-CHING, Li, and 李怡靜. "Culture and Politics of Garden in Song Dynasty." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/99410305552776948654.
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Ding, Kuo-Chih, and 丁國智. "A Study of Death Poem of Song Dynasty." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/88025278515481129913.
Full textAbstract:
碩士淡江大學
中國文學系碩士班
98
In life, death is always close to us. Since ancient time, people have been used a verity of ways to express their thoughts and feelings to death. Thus, in the history of Chinese poetry, it is not uncommon for poets to anticipate and describe the imagination of their own death by “death poems”. Although “death poems” is an important intermediary that connects thanatology and poetry, this field is not very popular yet. Hence, this article will focus on the research of death poem in Song Dynasty. In chapter one, I will define death poem, analyze pervious essays , elaborate the motivation of this research, and set up the research method. Chapter two will be the discourse of the development of death poem is prior to the Song Dynasty. Chapter three will include the discussion of construction of the death poem and how these factors influence the form of poem. Chapter four will shift a focus to the traditional or religious theories that help people overcome the fear of death. In chapter five, I will go forward and talk about the artistry of death poem form the rhetoric point of view. And chapter six is a conclusion.
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Lin, Yu-Mei, and 林玉玫. "Research of Poetries on War in Song dynasty." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/82810581988522137566.
Full textAbstract:
碩士淡江大學
中國文學系碩士班
95
This study is about the poetries on war in Song Dynasty. Chapter one of this text gives definitions of what is the '' the war '' and '' war poetries ‘. Chapter two traces the source and course of war literature which was developed before Song Dynasty. Chapter three studies the historical background in Song Dynasty and development of the writing of poetries, to see if that have any influence on the war poetries. In Chapter 4, analyzing the War poetries through analysis and induction, and then to sum up it filing into several themes; study emotion, thoughts and meaning in which every kind of theme demonstrates. Chapter five analyzes the artistic expression of the war poetries of Song Dynasty, including commonly used allusion and symbol, with the arrangement of the structure of the art of composition. Chapter six war poetries compare with war poesy of the former generation Song Dynasty, probe into Song Dynasty war word inherit, what part does it launch, develop, act as a analysis Song Dynasty war poetries itself. Finally find '' the war '' can be regarded as a kind of important subject matter in the poetries of the Song Dynasty, and develop with influence that era is expanded in the background and word border, demonstrate war thought and rational one side of thinking of people, war advocate war thought on thought mostly '' by fighting and stopping fighting '' ; It changes more too to create the writing, often use the allusion to argue or express the emotion; Style, war poetries demonstrate '' outside gentle inside just '' turn Song Dynasty, differ from former in style.
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Ho, Shang-Jung, and 何尚融. "A Study of Jiazhuan in the Song Dynasty." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/k2d684.
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碩士國立清華大學
中國文學系所
106
Han Yu’s Mao ying zhuan (毛穎傳) created a new writing style by personifying things and transforming historical writing as means of mocking. Scholars who study Jia zhuan (假傳) used to focus their attention either on the birth of Jia zhuan in Tang dynasty, or on the prosperity of it in Ming dynasty. This dissertation claims that Song dynasty plays an important role in establishing the academic tradition of Jia zhuan, and therefore worth a closer examination. The purpose of this study is to concentrate on the differences of Jia zhuan in Song dynasty and to figure out the reasons that might have caused the differences. First, it analyzed the standard structure of Jia zhuan in Tang dynasty. Second, it looked into the influences of the six fake texts in Su Shi’s name by analyzing the changes in themes, contents and structures. Finally, this study used the images of female biographers and the writing style of political implication as examples to explore the deep meaning in several works. The result of this study confirms that structure analysis, culture investigation and intertextual interpretation are possible new ways to understanding Jia zhuan in Song dynasty.
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TANG, SHUN-CHU, and 唐訓聚. "A Research on the Regicide of Liu Song Dynasty." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/80665324962833692024.
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博士中國文化大學
史學系
104
A Research on the Regicide of Liu Song Dynasty Abstract 420 CE, amidst the chaos of Eastern Jin Dynasty, Liu Yu, King of Song, committed regicide on Emperor An of Jin and Emperor Gong of Jin before establishing his empire of “Liu Song”. At the same time, he overthrew the long lasting tradition that usurper will not kill the abdicated emperor. The author used “chaos theory” to explain why Emperor Wu of Song can successfully “commit regicide”. Secondly, not long after Emperor Wu of Song’s heir, Emperor Shao of Song succeeded the throne, he was abdicated and murdered by court officials, again breaking the long lasting tradition that court officials will not kill abdicated emperors. The author used “role theory” to explain the court officials doing and why they failed. Furthermore, 30 years after Emperor Wen of Song succeeded the throne, his biological heir committed regicide on him, again overthrowing the tradition that no heir had ever committed regicide on their own father before since the Qin Dynasty. For this part, the author used “game theory” to explain the “zero-sum game” between father and son. After the heir succeeded the throne, he was killed by his younger brother, the Third Prince. The Third Prince “committed regicide” on another emperor and it was another “game” between them. Finally, the royal descendants of the Liu Song started killing each other, giving Xiao Daocheng the opportunity to rise and established the empire of “Xiao Qi” by committing regicide on Emperor Shun of Song. Although Liu Song Dynasty was founded through “regicide” and was also overthrown through “regicide”, it did establish some new systems. For example, after the royal princes are “kinged” (封王), they will become “Ci Shi” at states and simultaneously hold the position of “Du Du” on regional military affairs. With all these three positions held by one person, the royal family obtained great control over local “political, administrative and military affairs”. Especially the Ci Shi and Du Du of “Jingzhou” and “Yangzhou” are vital posts for protecting the royal family. Due to the youth of royal princes, official posts were established to act on behalf of the “Military Office” and “State Office”, and the status of “Dian Qian” was raised to exclusively serve as the eyes and ears of the emperor for controlling regional affairs. Also, nobility controlled “Ministry of Official Personnel” for selecting people into the government, and ensured the tradition of nobility-control on the bureaucratic system. After “the person who committed regicide” became emperor, to maintain political stability, he had to use “official posts” to exchange for the supports of the nobility. Due to political compromise, the nobility will then recognize “the person who committed regicide” as the legitimate emperor. Therefore, there was no emphasis on the “loyalty” of the country, only the “filial piety” on their family; there were no “martyred” court officials, only “family protecting” noblemen. Both the royal family and nobility put great emphasis on literature, thus creating an atmosphere of “preferring pen to sword” in the society. Noblemen didn’t want to be military generals, nor do civilians want to be soldiers. The “belittling military” atmosphere resulted in the situation that the majority of soldiers originated from lower social classes, who eventually seized control on the military power of the empire and committed regicide on the emperor to establish a new kingdom. These are the blood-thirsty reasons why “regicide” continue to happen in the “Southern Dynasties” as a form of political change.
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LIN, TSUI-HUA, and 林翠華. "THEORY OF APPEARANCE AND NORTH SONG-DYNASTY DRAWING POETRY." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/45362042509100164197.
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Chen, Chen-shin, and 陳志信. "A Study of the Song-Dynasty Upper Beam Prayers." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/20570083627399161610.
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碩士國立雲林科技大學
漢學資料整理研究所碩士班
92
The study mainly focuses on the research of the upper beam prayers written by the authors in the Song-Dynasty. The source documents include the official collected archive from the early written ancient books as well as works edited by the contemporary men of letters. Forty-six articles can be found in this research. These articles can also be divided into seven groups if sort according to the architecture structure. There are six articles for the palace buildings, four for governmental architecture, six for the temple buildings, six for the sacred buildings, six for the landscape architecture, and the most articles, sixteen for the civil architecture. There are also two articles about the non-domestic architecture which have to be put the upper beam prayers—“ Long-hsi Bridge Upper Beam Prayers”(龍 溪橋上梁文) and “Chu-chien Upper Beam Prayers.”(巨艦上梁文) For the folk culture, choosing an auspicious date to inscribe the upper beam prayers, when scheming a building, has become an indispensable ceremony and symbolic journey. It not only symbolizes the achievement of the whole structure but also suggests a deep concern for the safety of the construction. It is apparent that there is anticipation for people to get a full satisfaction of the soul and mind through conducting the ceremony. The six directions (East, south, west, north, above, below) in the upper beam prayers are often formulated through the representation of the inheritance, symmetry, and continuance which refer to a self-centered, well-arranged and a well-adapted environment for all the living things. A well-written upper-beam prayers not merely plays the function of blessing, but also becomes a historical document which gives us a mirror to understand more about the contemporary people and social circumstances.
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Yin, Pan Shing, and 潘星吟. "Research on Theory of Poetic Prophecy in Song Dynasty." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/g3b75b.
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碩士世新大學
中國文學研究所
96
“Poetic Prophecy”（詩讖）is one kind of special phenomenon in the Chinese poetry history.“Poetic Prophecy” called by the writer is let the Qi-xiang（氣象）presented form the words or sentence in the poetry match with development of author’s fate. During Song Dynasty, “Theory of Poetic Prophecy”（詩讖說）is very popular. We can find proof from abundant record of Song Dynasty Note（宋代筆記）and Shi-hua.（詩話）Therefore, the mail goal of the paper is to analysis “Theory of Poetic Prophecy” in Song Dynasty Note and I take some documents like Shi-hua and Classified Books（類書）as auxiliary, so as to discuss her source and development and the reflection of writer’s mentality and influence of writer’s creation. The origin of “Poetic Prophecy” came from the notion called “Augury”（徵兆）which was a substance of ancient “Divination”（占卜）and the idea called “Telepathy”（應驗）whish was found in “Chen-Wei”（讖緯）and the trick of “Fu-Hui”（附會）.Until Song Dynasty, the development of “Theory of Poetic Prophecy” was gradually separated with the attached role of “Augury Ballad”（謠讖）.In addition the transformation of the content of “Theory of Poetic Prophecy”in Tang Dynasty, all of they settled the foundation of the popular theory during Song period. Under Song people’s particular background, “Theory of Poetic Prophecy” was spread by “Note” and “Shi-hua”. The psychology of “Fatalism”（命定）the Song writer called and the affection of Song Dynasty academic development to “Theory of Poetic Prophecy”were reason why “Theory of Poetic Prophecy”was in fashion. In Song Dynasty, “Theory of Poetic Prophecy”and literature idea mutual influenced which displayed to the way of the determination that writers explained poem via “Augury” （以讖解詩）and the attitude of the writer’s creation. So it is normal situation they (writers) avoid “The Taboo of Poem”（詩忌）and the hobby of using “Fu-Gui-Yu”（富貴語）.
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Huang, Chien-Hsiu, and 黃千修. "The Publication Condition Research of Song Dynasty in Sichuan." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/99657591980384536625.
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碩士淡江大學
漢語文化暨文獻資源研究所碩士班
96
This thesis documents the history of the Sichuan woodcut printing, including its origin, style, text and the impact on regional culture, through an inter-textual examination of diverse documents of the Dynasty Sung based on the primary as well as secondary sources of the fieldwork in Sichuan region. The first part of the thesis traces back to the ancient copy of “Shu” (the shorter name for the region Sichuan) woodcut printing from Dynasty Sung to Tang. It studies the development of the “Shu print” from its original form to varied versions of later periods. The second part of the thesis analyses the correlation between the external factors, economic and geographical, and the development of woodcut printing industry of Dynasty Sung in Sichuan region. The data is collected based on the sources of historical records, government documents, local chronicles and so on within the framework from Tung through to Five Generations and Sung Dynasties. It is believed the impact of such external social factors contributed to a flourishing printing industry which led to a distinctive gentry’s culture in the Sichuan region of these periods in particular. The third part of the thesis focuses on the documentation of publications on Shu print of Dynasty Sung. It covers, thanks to the hard work by academics in the past, a comprehensive list of printed works and bibliographies from both public and private collections in libraries of China and Taiwan. The fourth part of the thesis explores the historical background and some external factors, all of which characterize the Shu print of Dynasty Sung, for example, the active interactions between local and other people outside the region and the local support for the government printing policy. The fifth part of the thesis studies the historical aspect and correlation to the contemporary culture. It seeks to picture the distinctive Sichuan woodcut printing culture which indicates the impact and the role of printing industry to the contemporary society.
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Hong, Yi Jia, and 洪已加. "“Dizi Zhi” (Duties of Disciples) in the Song Dynasty." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/05925017592300843488.
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碩士國立清華大學
歷史研究所
103
Abstract This study is concerned with “Dizi zhi” (Duties of Disciples) in the Song. The motivation arose from an intriguing fact that there are far more references to the “Dizi zhi” in the Song than the dynasties before. Why and how did this happen? What is its significance? And what influences have it had on Chinese education? These are the issues this thesis will address. The original text of the “Dizi zhi” comes from the Guanzi book, an important pre-Qin work. Most modern scholars consider that the essay is the school regulation of Jixia Academy of the Qi State of the Warring States period. From the Warring States Period through the Song Dynasty, this essay has not received significant attention and seems to have been forgotten. By the Song Dynasty times, this changed significantly, and Zhu Xi is the pivot who promoted it and gave it a prominent position in Chinese educational history. First, Zhu Xi divided “Dizi zhi” into nine chapters, based on its content. And he then gave titles to the chapters, using two- or four- character phrases to mark the gist of each chapter. At the same time, he annotated pronunciations for selected characters or phrases; he also provided the meaning of various words and geographic names like those of cites. He also edited sentences, when necessary. Then, by proposing to publish “Jujia zayi” (Miscellaneous rituals for family life) and “Dizi zhi” together, as well as to append “Dizi zhi” into his book Xiaoxue (Elementary Learning) and Yi li jingzhuan tongjie (General Interpretation to the Text and Commentary to the Book of Ceremonial Rites), Zhu Xi made “Dizi zhi” a part of his own theory of ritual and education. Relying on these books, and on the continued efforts his students and disciples made to expound on them, Zhu Xi not only made “ Dizi zhi” an important book for children’s education, ritual, ritual education and maintaining an orderly family, he also spread these notions to other scholars in Song dynasty. Even today, his theory still has remarkable influence. Methodologically, this study seeks to examine all meaningful studies throughout pre-Song Chinese history, underscoring how it was treated in different periods, but the focus is on Song dynasty’s conditions. The thesis then ends with a similar examination of the development of “Dizi Zhi” learning in the Yuan dynasty. Furthermore, by combining historical background and comparing different schools of thought, I highlight the importance of the noted rise in Song intellectual horizon of the “Dizi zhi”. I further discuss at length Zhu Xi’s comprehensive version, which played a critical role of inheriting the past and ushering in the future. This thesis uses primarily Zhu Xi’s books, his correspondences with friends and students; I also refer to various other related historical records in the Song dynasty. To sum up, the Song dynasty is indeed a magnificent period of intellectual development after the Han dynasty. It is also a great era of transformation, in both intellectual creativity, and literary style. This thesis shows that despite that the “Dizi zhi” is a pre-Han dynasty work, and had been affected by Sui, Tang and Five dynasties’ ways of annotating the ritual canons. When it comes to invention, however, Song understanding and interpretation of the “Dizi zhi” was able to go back to the original essence in the field of education as was known to the people of the Warring States. Meanwhile, Zhu Xi’s appropriation of the tradition and re-interpretation of it helped to develop new ideas in ritual education. Furthermore, his promotion which edifies the general public by reviving ancient rituals became more systematic in Yuan dynasty. Therefore, Zhu Xi is not only the key figure of “Dizi zhi” development in the Song dynasty, but also one who integrated and matured the various strands of understanding the “Dizi zhi” of different dynasties. Key words: Guanzi, Xiaoxue, Yi li jingzhuan tongjie, “Dizi zhi”, Zhu Xi, ritual, children’s education, ritual education
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Tsai, Chin-Kuan, and 蔡錦寬. "On the Authors’ Acceptance to Zhuangzi in Song Dynasty." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/62191567826357005851.
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碩士國立屏東大學
中國語文學系碩士班
103
Zhuangzi becomes a highly valuable work, not only for its philosophical content, but the literary value which emerges an aesthetic attitude towards life. In Song Dynasty, many scholars start to explain Zhuangzi’s ideas from different perspectives including Confucianism, Daoism and Buddhism, for instance the theory of the mind and daily life. Meanwhile, someone begin to change the traditional method of interpretation the meaning of Zhuangzi, spending more effort on Zhuangzi’s aesthetic and literary achievements. Therefore, Zhuangzi makes great effects on the literature of Song Dynasty. This paper will put Sushi, Wang Anshi, Lin Xiyi and Xi Qiji as the research examples. Sushi holds an open mind towards Confucianism, Buddhism and Daoism to build his own artistic works. Sushi’s images and quotations in his poems and articles written in exile shows Zhuangzi’s influence. Wang Anshi changes some meanings of Zhuangzi with the purpose of political reform, his theory of making Zhuangzi confucianlize makes a great many contribution to interpret Zhuangzi. Lin Xiyi, in his Oral Significance of Zhuangzi, emploies a oral way to explain Zhuangzi’s ideas, besides interpreting Zhuangzi from the perspective of Buddhism and Confucianism, he also changes the traditional method of interpretation the meaning of Zhuangzi, paying close attention to Zhuangzi’s literary achievements. Among all the poets in Chinese literature, Xin Qiji is the one who uses the most number of quotations from Zhuangzi. No matter life or writing style with Qi. Through the four authors above, it turns out that Zhuangzi’s great contribution to authors and scholars in Song Dynasty, and it is also good to clarify the difficult relation between Confucianism, Buddhism and Daoism.
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Wu, Xingming. "Wrinkles in time : folding Song dynasty into contemporary art." Thesis, 2018. https://eprints.utas.edu.au/30220/1/Wu_whole_thesis.pdf.
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This research project builds on insights from a study of the ancient Chinese methods of ink and wash landscape painting in particular through a focus of Song Dynasty landscape painting. My research seeks to produce artworks that explore the potential in, and re-contextualise, the ancient tradition of the Wrinkle method (texture method) within Song Dynasty ink and wash work in order to innovate the tradition.
The following questions inform the research:
What can Song Dynasty ink and brush (wash) paintings offer contemporary art practice?
How does ink and wash landscape paintings reveal Chinese philosophical thought, especially the philosophy of Yin and Yang, within environments outside of that tradition?
How can the practice of calligraphy be re-contextualised within a contemporary art practice to communicate Yin and Yang philosophy in relationship to the landscape?
How might the process of using ink and wash wrinkle methodology develop a new visual language that enters into a dialogue with contemporary art practice?
My research starts from a rethinking of the relationship between calligraphy and the traditional landscape painting techniques of the Song Dynasty, in order to understand the aesthetic properties of Chinese brush and ink work (Bi Mo- [2 Chinese characters] - Wrinkle methods). In order to define my research project, I explore the
relationship between Song Dynasty paintings and Taoist philosophy (three key features of Yin-Yang and three key elements of Qi). I draw out four key qualities from the relationship: unity or harmony, transformation derived from continual change, complementary opposites, and spatial duration.
In order to innovate these relationships I draw from the theme of the four seasons, as it pertains to the environments around Hobart. I focus on the mountain and rock forms that populate the view of the Mount Wellington range. This cross-cultural approach maintains a distinctively Chinese character through its philosophical inputs but moves beyond the boundaries and visual modes of traditional Chinese landscape painting to draw connections between two different environments with the aim of developing a new visual language for facilitating cross-cultural communication.
In order to provide more insight into how the individual character of Song Dynasty landscape art has located the visual language used in this project, and to construct a cultural common ground for the studio inquiry, I have drawn from ancient Chinese painting texts: ‘An Appraisal of Painting’ (Xu Hua), ‘An Introduction to Landscape Painting’ (Hua Shanshui Xu) ‘Portraying Seclusion’ (linquan Gao Zhi), and ‘universal theory of pure landscape painting’ (Shanshui Chun Quanji) as a theoretical framework.
In this study, I visited contemporary artists working with traditional painting in China, and I have analysed representative works of ink and wash from the Song period to the present day, in order to trace the relationship between them. Notable examples include Ting Qiu, Huayi Li, Brice Marden and Dongling Wang. The purpose is to tease out the cultural uniqueness from which an international visual language can occur.
Through this research, Song Dynasty landscape painting has informed my approach in thinking about the landscape and expressing the way of natural law, which maintains the balance and harmony of Yin and Yang in painting through mutual transformation of Qi and energy, in order to express the strong movement within nature through a smoothly flowing line. This movement reveals the energy that transforms Qi in my work. The different movements that I make in this environment are exactly suited to reflecting the rhythm of life in Tasmania – this is also predicted by Qi’s theory of energy transformation, so that a change in location is also a change in the relationship between water and ink – all of which emerges naturally and which also has a different quality to the works of the Song Dynasty.
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Chen, Ye-Fen, and 陳怡妃. "Marital Conflicts in Song Dynasty – Specializing in Women’s Studies." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/62800213986897795364.
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碩士淡江大學
歷史學系碩士班
97
Generally speaking, most women of the Song Dynasty stepped into marriage, marrying into another family, and thus their moral virtue was valued by the society. At the time, under the guidance of home education which was filled with strong Confucianism, most housewives could serve their husbands, show filial piety to their parents-in-law, and get along with their sisters-in-law, devoting to family life. However, interpersonal conflicts are unavoidable, and there is no exception within marriage life. From this standpoint, this paper specializes in women’s studies to explore a variety of conditions resulted from marital conflicts, and to disclose the realities of life for women who were submerged under the historical torrent and couldn''t speak out for themselves. Therefore, this paper will firstly, illustrate the content of “family instruction” upon women education and discuss the practical effects of “family instruction”, secondly, expound the disputes arose from four difference levels of human relations within conjugality: husband and wife, parents-in-law, husband’s relatives, and wife’s relatives, and finally, survey the litigation process of women-related cases from the perspective of laws and cite legislation. We can realize from here that in the cases of marital conflicts, Song women were situated in a critical era of status transition.
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Young, Pochen, and 楊博淳. "The Research of Righteousness Warehouse In The Song Dynasty." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/24342939449735516543.
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碩士國立中正大學
歷史研究所
100
The article talks about righteousness warehouse. Besides the setting origin of righteousness warehouse, discussing about the systems with setting up and abolishing of righteousness warehouse in the Northern Song Dynasty. And During Sothern Song Dynasty, the development of Chang Pingyi warehouse and the systems of giving and control of righteousness warehouse in the Song Dynasty. The article have four parts. First, discuss about the reasons of setting righteousness warehouse during Sui and Tang Dynasty. Besides, talking about the reasons of original settings and first abolishing of righteousness warehouse in the Song Dynasty. And comparing the conditions with Sui, Tang and Song Dynasty. Second, discussing about the unsettled to settled of righteousness warehouse in the Song Dynasty. Form the attitudes of monarchies’ memorial’ to emperor and emperor, discussing about the reasons of settings and abolishing of righteousness warehouse, and the questions of settled of righteousness warehouse in the Northern Song Dynasty. Third, discussing about wartime and ordinarily during the Southern Song Dynasty. During wartime, the rice in Chang Pingyi warehouse most likely appropriate to military supplies, it’s functions broken which opens the bad habit. During peace time, the functions of Chang Pingyi warehouse changed. Besides appropriating to the official, giving righteousness rice also becomes a system, and the numbers of times of giving relief the loan raises. It becomes a characteristic. After Filial piety Zong Dynasty, village granary developments well, and three warehouses have a state. People during the Song Dynasty prefer to village granary rather than often levels, the worst is righteousness warehouse. Forth, discussing the changing of management during ordinarily, the giving during famine, and ways of an abuse and preventing abuses. The management during ordinarily of righteousness warehouse, will discuss how to collect, the setting places, and the changing of managements form the center to locality. The giving during famine will discuss the changing of the common people to the official of suing the disaster, and the reasons of the giving. Final, discuss about ways of an abuse and preventing abuses. To sum up, from four parts to understand the righteousness warehouse’s conditions in the Northern Song Dynasty having additional tax. If collecting tax from the common people is not well. Combining often levels and righteousness warehouse during the Southern Song Dynasty, the official appropriate seriously, let the functions of righteousness warehouse bad. On the other hand, righteousness warehouse away from country, work place Guo better than country, losing the original meanings of righteousness warehouse.
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Liao, Yi-Ya, and 廖怡雅. "The discussions on Du, Mu’s poems in Song dynasty." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/36295152966478678881.
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碩士國立屏東教育大學
中國語文學系
100
Most discussions regarding Du, Mu, no matter whether in the books or journal articles, were on Du, Mu and his works. These discussions were valuable though there were limitations. Therefore, the study attempted to examine the critics for the poems of Du, Fu from the historical perspective which was to observe how Du, Mu had effects on the impression construction process of his poems by the later generations. Due to the vast range, the discussion was focused on the dynasties of Tang and Song. From the literature review, the integral impression of Du, Mu and his poems could be established by the current academic discussions regarding Du, Mu. The materials for review were then identified. For instance, the contents were mostly paragraphs rather than articles in “Shihwa” due to its casual writing style. Therefore, the original poems discussed in “Sihwa” shall be recovered before critics could be confirmed which was one of the most important methods to interpret “Sihwa” materials. In addition, the time background, poetic trend, and aesthetics in Song dynasty shall also be recognized to build integral and objective understanding. Then, the reviews of critics in Song dynasty on Du, Mu’s poems could be categorized according to the form, topic, meaning, skill, or aesthetics. From the discussions on Du, Mu in Song dynasty, it could be found that though Du, Mu and Li, Shan-yin were noted for Li and Du junior althoughter, the contemporary discussions were mostly focused on Li. The main reason might be though Du was extraordinary talented and made excellent Luishi and Jeuju, his works were unable to be duplicated or modeled. Nonetheless, the more objective reviews on Du, Mu were gradually generated with the comparisons among Du, Fu and Hsu, Hun (in late Tang dynasty) since Song dynasty.
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Liang, Ming-lun, and 梁明倫. "On the Medicinal Formula of Song Dynasty Agarwood Incense." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/40702001271498799369.
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Chen, Kuan-Yu, and 陳冠宇. "The Issues of Temporary Local Officials in Song Dynasty." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76734306442679286193.
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碩士國立臺灣大學
歷史學研究所
100
In ancient China, when one certain official is under the vacancy and is temporarily represented by other officials, the agent was called, in Tang Dynasty, as “she”（攝）, in Song Dynasty, also, as “she”（攝）, or “quan-she” （權攝）. In the historiography of Song dynasty, whenever a “she”（攝） or a “quan-she” （權攝） is read, it signifies that some officials were in vacancy, and were temporarily represented by others. The “she”（攝）, here, normally bears the meaning of “temporarily representation”. In order to discuss the provincial “temporary officials”（攝官） issue in the Song dynasty, it is inevitable to retreat to the previous dynasty, namely Tang. In the late Tang Dynasty, whenever one provincial official is vacant, provincial governments normally send the temporary officials themselves, without official recognition from the central government. If these temporary officials were, later, not approved by the central government, they were called “temporary officials”（攝官）. Since the mid-Tang Dynasty, most of the provincial officials were already replaced by “temporary officials”（攝官）, meaning that provincial officials were no longer assigned by the central government. This national wide phenomenon represented the decrease of the power of the central government of the mid-Tang Dynasty and proved that the real boundary of the power of the central government ceased at the provincial levels. Though “five dynasties” （五代） could be considered as the succession of the Tang Dynasty, however, since “later liang”（後梁）, every dynasties in “five dynasties” （五代） attempted to solved the “temporary officials”（攝官） problem. Nevertheless, the issue remained, and had lasted until the beginning of the North-Song dynasty. In order to resolve the “temporary officials”（攝官） problem and to concentrate the governing power to the central government, the North-Song dynasty continuously making different laws on provincial governments’ “quan-she” （權攝） issue, and they only preserved the power of assigning “temporary officials”（攝官） to “Guangdong and Guangxi”（兩廣） provinces. By this, the North-Song Dynasty provided an efficient correction for the “temporary officials”（攝官） issue, and hence shifted the problem since mid-Tang Dynasty. But, since the mid-North-Song Dynasty, the central government started to lose their concentrate power, and despite mass attempts of the South-Song Dynasty to cancel the “temporary officials”（攝官）, the Dynasty could not complete their tasks to resolve the problem. Since the mid-North-Song Dynasty, while the central government suffered the occupational crunch, provincial governments suffered from the swell of vacant occupations, hence they can only assign temporary officials, namely “temporary officials”（攝官）, for those vacancies. How to explain this paradox? This essay attempts to posit the “temporary officials”（攝官） issue of the Song Dynasty in the context of “the relationship of governing power between the central government and provincial governments”. Common impression for the Song Dynasty is that in comparison with the Mid- and the Late-Tang Dynasty, its central government’s governing power is more concentrated, however, if consider the “temporary officials”（攝官） problem, we can see a different vision of the power relationship in the Song Dynasty.
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Wang, Ming, and 王明. "On the Colony of the Southern Song Dynasty Premiers." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/47531959643263329324.
Full textAbstract:
博士中國文化大學
史學系
101
The ancient Chinese bureaucracy was formed in the Chin and Han dynasties. In this governing system, the prime minister, played a pivotal role that led all the officials and provided assistance to the emperor in administrative work. Topics about premiers have drawn much attention in academic circles. Throughout history, the title, power and status of this position fluctuated over time constantly, and so did the relationship between imperial power and prime ministerial power. The Song Dynasty was a critical stage in Chinese history. This period saw many important transformations. Especially prominent were changes in politics after the chaotic Five Dynasties and Ten Kingdoms Period. There was a shift in the form of government, in which aristocracy was replaced by absolute monarchy. The power of the premier was thus enhanced and the position became more influential. The Song Dynasty was divided into two distinct periods: Northern Song and Southern Song. After the demise of Northern Song, the Song court was forced to move southwards and established Southern Song. Although the two periods shared the same biological and political genealogy, there existed significant differences in their political development. The titles and duties of premiers in the Song dynasty changed frequently. There were as many as three changes during Southern Song alone. The special political background of the era gave rise to the emergence of six famous powerful prime ministers. They were: Qin Kuai, Han Tuozhou, Shi Miyuan, Shi Songzhi, Ding Daquan, and Jia Sidao. Together they remained in power for more than half the duration of Southern Song, making the dynasty the so-called “prime ministerial government.” This dissertation studies the sixty-three prime ministers of the Southern Song dynasty, including their family backgrounds, origins, and official experiences. An analysis will be made on their appointment and dismissal from office, how they were treated after being dismissed, and what a full-time or an adjunct position had to do with a prime minister’s power. The dissertation also seeks to address issues such as the emperors’ performance, their personality and interactions with prime ministers, the decision-making procedures and actual deeds of the prime ministerial system, the rise of the six powerful prime ministers and how they expanded their power. This study will discuss power structures of these dominant prime-minister groups, how these powerful figures interacted with their general counterparts, and how they failed and what kind of impacts were brought about on politics.
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Hsu, Ching-Chung, and 徐靜莊. "Research on the Pavilion Prose of the Song Dynasty." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/gmd75u.
Full textAbstract:
博士國立彰化師範大學
國文學系
107
The ancient pavilion proses mainly focus on the literary themes, structure, etc., and the four types of pavilions articles are combined into one. The specificities of pavilion prose are about the space, what happens in the location, and the perceptions that people have in it. As seen, it is the main focus of cultural geography or space experience when the meaning is examined from the perspective of how people interact with the space and the location. The thesis attempts to combine the literary and spatial experience categories, using the pavilion texts as the material to analyze the expression of space, character minds and local scriptures. The scope of the text is based on the place and space meaning of the pavilion. Because the bower and the pavilion are different in terms of architectural style and purpose, it is convenient to find the different perspectives respectively written in the official pavilion texts and those private pavilion ones. From this base, there develop two types of pavilion literature. The official pavilion texts describe the local memories of the county and the association with the imperial court, while the spatial expression of the private pavilion is the pavilion owner’s self-expression. The pavilion literature had risen from the middle Tang Dynasty, and flourished in the Northern Song Dynasty. On the one hand, the practical features of the traditional style of pavilion had never ceased since the Northern Song Dynasty and the Southern Song Dynasty. On the other hand, the creations of the ancient texts writers in the Tang and Song Dynasties had changed their style of the "Pavilion literature," deconstructing the "recording elements” inherent in the texts. In the southern Song Dynasty, there were more works derived from the “recording elements,” endowing the texts with more features of sensational aestheticism, poet consciousness, and short articles.
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Lai, Wen-Chun, and 賴文君. "The Change of the Literature Genres from the East Chin Dynasty to the Liu-Song Dynasty." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27706038007116542768.
Full textAbstract:
碩士東吳大學
中國文學系
94
Literature reflects the real life. While the Wei, Chin and the South & North Dynasties are in an era full of turmoil caused by war, a great number of literature masterpieces bloom in the dynasties. Three Chang, two Lu, two Pan and one Zuo, whose works are realistic and romantic are the pioneers of the Chinese pure literature in the West Chin Dynasty. Because the mysticism flourished after the Yong Jia era, the literature focused more on mystic theme than formalism. During East Chin Dynasty Buddhism and Taoism were the mainstream, which contributed to the prosperity of literature about philosophy, hermits, gods, landscape and pastoral. Literature in Liu-Song Dynasty follows the lead of the West Chin Dynasty and adds glory to it—it is not only traditional but also innovative. The theme of the literature has changed from the imagery to the realism whereas the content has become rhetorically arranged. The adoption of the rhythm pattern and the emergence of the court style (Gong-Ti) attribute to the blooming of the poetry with a strict tonal pattern and rhyme scheme (Lu-shi) in the Tang Dynasty. The thesis starts from discussion about the society in the East Chin and Liu-Song Dynasties and then analyzes the outstanding works by comparing the different literature genres. To assure the literature value in the East Chin and Liu-Song Dynasties, the thesis includes the significant influences which the literature has on the following dynasties. The thesis contains six chapters. The first chapter introduces the research motivations, objectives, and research methods. In the second chapter, the culture and society in the East Chin Dynasty are presented, where the socio-cultural phenomena are carefully discussed. To further probe into the literature which reflects the society, works by remarkable writers such as Lui-Kun, Guo-Pu, Wang Xi-Zhi, Yan Zhong-Wu, Xie Kun and Tao Yuan-Mi are analyzed. In the third chapter, the thesis focuses on the socio-cultural system and humanism in the Liu-Song Dynasty. Works by Yan Yan-Zhi, Xie Lin-Win, Xie Hui-Lain , Boa Zhao and Xie Zhuang are presented as examples. In the fourth chapter, the literature in the East Chin and Liu-Song Dynasties are well compared from the aspects of subjects, contents and genres. In the fifth chapter, how the literature in the Chin and Liu-Song Dynasties have the influences on the following dynasties are detailed, which reassures its literature value. The final chapter states the conclusion of the research on the Chin and Liu-Song Dynasties.
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HUNG, Hsiu-chu, and 洪秀菊. "The Study of Bao Zheng in the Northern Song Dynasty." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/92388365252884257922.
Full textAbstract:
碩士靜宜大學
中國文學研究所
99
Bao Zheng, as Justice Bao in everybody''s memory, has been a representative of the fair and justice for over 1,000 years. Bao Zheng was changed from a historical person in historical books to an honest and upright official with outstanding image by the breeding of folk opera and legend. The aim of this study is to explore the family background, performances of officialdom, and filial piety and austerity of family tradition of Bao Zheng in the Northern Song Dynasty by relevant data in nationally authorized histories. This thesis, more than 100,000 words, is divided into seven chapters: Chapter one, “the introduction,” summarizes the motives and purposes, scopes and methods of research, the overview that Bao Zheng has been studied since 1912, and the value of subject matters of Bao Zheng. Chapter two, “the family background of Bao Zheng,” mainly analyzes the era and family background of Bao Zheng by historical books including Songshi, Bao Zheng’s epitaph, Bao Xiaosu’s petition, and relevant data of Bao Zheng. Chapter three, “the comments of Bao Zheng''s image,” recognizes Bao Zheng in the opera and folk legend in the Yuan, Ming and Qing Dynasties by discussing commentaries on Bao Zheng in the historical books, including commentaries of the biography of Bao Zheng in Songshi, non-nationally-authorized histories, and opera and legend. Chapter four, “the outline of Bao Zheng''s tomb,” classifies and analyses the contents of the changes and the excavating of Bao Zheng''s tomb, and the epitaph unearthed. Chapter five, “the first probe into Bao Zheng''s epitaph,” concludes the development of “honest and upright official” image by the examples of pure heart and straight, performances in officialdom and incorruptness of Bao Zheng. Chapter six, “Bao Zheng''s family model,” depicts the loyalty and filial piety of Bao Zheng’s family, his offspring obeying Bao Zheng''s teachings, and the heritage of the family''s filial piety and austerity, recorded in the history forever. Chapter seven, “the conclusion,” properly explains Bao Zheng''s performances by analyzing the above-mentioned data, and in comparison with history, makes conclusions of filial piety and loyalty, pure heart and straight, contents, ways and image of handling a case by Bao Zheng.
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Huang, Han-chang, and 黃漢彰. "Study of Blue and White ware types in Song Dynasty." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/75690368417269012530.
Full textAbstract:
碩士逢甲大學
歷史與文物管理所
97
Blue and White ware was the most popular type of porcelain in Song Dynasty, because of its blue spreading out the white bottom, thin pieces, smooth glazing, great pervious to light, facile and delicate carved design, and the shapes that very similar to gold and sliver utensils. Due to such significant features of Blue and White Ware, it was fond by people at the time, therefore was popular in both North and South kiln factories accordingly. However, there were diverse techniques of White and Blue ware productions in each place. Among all the Blue and White Ware products, those produced from the kiln factories in Jingde town had the best quality, though it was not the earliest kiln factory which produced the Blue and White ware. The development of Blue and White ware was focused on the Hutien kiln in Jingde town, and the author further identified the entitling, range, rise and decline of Blue and White ware, also the producing condition of Hutien kiln in different period of time. In addition, the purpose of Blue and White ware model study is to assist dividing history into periods, therefore through the analysis of Blue and White wares excavated from each tomb of Song Dynasty, it was found that there were diverse models in different times, therefore discovered the evolving progress of Blue and White wares, which was a great benefit to identify which model was popular at a certain time, especially to the cellar hoards, underwater archaeology, and current investigation of underwater cultural heritages in Penghu water area. The research result of Blue and White Ware in Yuan and Song Dynasty has provided important history division base. Finally, the author presented the review and arrangement of each development of Blue and White Ware, which illustrated the historical contributions of Blue and White Ware to Jingde town and the whole china and porcelain history in China.
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Tien-Yu, Chi, and 姬天予. "The Research of Chan’s Poetry On Death of Song Dynasty." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/47343476995200710929.
Full textAbstract:
博士玄奘大學
中國語文學系碩博士班
102
The Research of Chan’s Poetry On Death of Song Dynasty Abstract Life and Death is an important thing for the human beings at all times and all over in the world. The feelings and the philosophy of life and death have been valued and emphasized by people from ancient to modern time . Therefore the Chan religious poems on death of Song Dynasty are especially meaningful in life and death education. Chinese religious poems on Death originated from long long time ago . Although such religious poems on Death are not as popular as common poetry in Chinese history, they played a very important role because of the issue of life and death . Those religious poems also had diversely characteristic in different era. For all the Chan’s poems on death (generally written before the dying moment ) were the works regarding life and death, they were not based on the traditional Chinese religious poems on death ，but set up by the separate feature , because of the different background on thought . The Chan’s poems on death had traditionally passed down from the Western the 28th founder - Dharma , but the essentiality of the poems were differed from those of Dharma , The poems had became the ultimate life teachings to the disciples since the “Chan” was preached into China. In the East , the first poem on death was written by Chinese eminent monk Hui Neng in Tang Dynasty, The poetry on life and death was gradually developed in the schools of Qing-yuan and Nan-yue. afterward，There were five Chan Schools of Buddhism at that time . Among them , the founders of Lin-ji , Cao-dong, and Gui-yang have respectively left certain poems on death , which were regarded as great demonstration and encouragement ,as a result ,the development of the poetry on death was flourishing in Song Dynasty.The Chan’s poems on death focused on observing reflecting one’s own inner heart and nature , in order to reach the highest aim of complete relief from life and death . Hence , those poems on death of Song Dynasty announced the nature of human beings , and explained how to observe his / her original nature . As for the philosophy of life and death , the poems on death expressed the impermanence of human body and the eternity of dharma (truth of nature ) which was the main content declared by all the five Chan schools of Buddhism and seven branches. In addition , the poems on death of Song Dynasty can be reviewer from two different aspects. Outwardly , the poems form of the poems on death of Song Dynasty showed its own distinctive literary and art style. inwardly, the description or statement in the poems on death would reveal the Chan disciple’s wisdom and aesthetics , under different reality and personal experiences to deal with death. Finally , Chan’s poetry on death of Song dynasty is one part of Chinese Literature and all that learning should be feedback to life . I sincerely hope that the research will not only give another point of view of death for modern people but also enrich the perception for death .
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Pei-HuaWu and 吳佩樺. "The study of Northern Song Dynasty six writers funeral oration." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/26517385332947348960.
Full textAbstract:
碩士國立成功大學
中國文學系
103
SUMMARY Of the Eight Great Prose Masters of the Tang and Song, six of them come from the Northern Song Dynasty. This article spotlights on the funeral orations the six masters have written for their families and friends. From the “Quan Song Wen” edited by Zao Zhuang and Liu Lin, the article retrieves 196 funeral orations the masters have written for their families and friends at the funeral ceremony. The article further investigates into the funeral subjects, the ideological connotations, and the analysis of funeral orations from the perspective of traditional rituals. In the end, the article draws a conclusion on the backgrounds in which these funeral orations were written. Keywords: Six Great Prose Masters of the Northern Song Dynasty, funeral oration, ritual, applied writings and Han Mo Quan Shu INTRODUCTION This article is divided into five chapters with their discussions centered on the connotations and styles of funeral oration. The first chapter put great emphasis on the definition scope of the subject matters. Four representative styles of funeral oration, Ai, Lei, Diao, and Ji, were chosen as ratifications and the distinctions between these four styles were made. Next, the chapter probes into the concept of the funeral oration and clarifies its scope defined by the article. Through the study results of preceding scholars, problems worth discussing about would be excavated. The second chapter analyzes and induces the funeral subjects of the 196 orations written by the Six Great Prose Masters of the Northern Song Dynasty. It further investigates into the relationships between these scholars and the funeral subjects. From the scholars’ interaction process and feelings towards these funeral subjects, we could make an inference about the motivation behind the funeral orations and assert whether these orations really carry authentic connotations. The third chapter explores the ideological connotations of the funeral oration. It was divided into four subfields including the praise of personality, the sentiment towards society, the contemplation on life and the sorrow for death. The fourth chapter discusses about the writing styles of contemporary funeral oration through their formats and structures. Next, the discussion turns to the writing problems that arise from traditional rituals. Through the comparison between “Han Mo Quan Shu” and the funeral orations written by the six masters, the author probes into the writing specifications of the funeral oration according to the different funeral subjects. In another words, the writing formats of the funeral oration greatly depend on the relationships between the writer and different funeral subjects. It also depends on various rituals adopted in the funeral process. The last chapter draws a conclusion. The funeral orations from the six masters were once again inspected through different perspectives, including contemporary society, ideology, literature, and ritual. Contemplation on the restriction and vision of researches on funeral oration was thus established. MATERIALS AND METHODS Regarding to the collection of literature and clarification of scope, the author has collected the thesis centers on the issue of life and death in both Taiwan and Mainland China. It has turned out that the research results are often centralized on the source and analysis of funeral orations as well as the studies of funeral orations by respective scholars. The researches on the subject matters are mostly focusing on the Six Dynasties and Tang Dynasties. Since fewer researches on the subject matters are focusing on the Song Dynasty, the author has chosen Song Dynasty as a study object and selected the “Quan Song Wen” as a foundation for the research. The “Quan Song Wen” has no specific category of funeral orations. It simply gathers the articles centers on the issue of life and death, including epitaphs, stele, lament, and funeral orations. From the “Quan Song Wen”, the author has collected the funeral orations written by the Six Great Prose Masters of the Northern Song Dynasty. Funeral orations towards family and friends were then retrieved from these articles. Articles praying for rain and worshiping ancestors were excluded from the subject matters. Regarding to the connotations and styles of the articles, it should be noted that the writings of the article is a small segment under a big dynasty. Through the understanding of political, social, and cultural conditions of Northern Song Dynasty, the author could analyze the precise historical position of each funeral subject described in the orations. Through the external presence of political, social and cultural conditions arisen from these orations, the author could also analyze the masters’ sentiments towards the deceased and the feelings hidden in their hearts. In terms of styles, the article discusses the rituals funeral orations should follow according to the structures of “Xin Bian Shi Wen Lei Ju Han Mo Quan Shu” edited by Liu, Ying-li, “Ying Yong Wen” edited by Huang, Jun-lang and “Zui Xin Ying Yong Wen Hui Bian” edited by Lu, Xin-Chang. RESULTS AND DISCUSSION In terms of styles, “The Literary Mind and the Carving of Dragons(Wen Xin Diao Long)” vastly discussed about the writing principles of literatures centered on the issue of life and death, including the four representative styles, Ai, Lei, Diao, and Ji of funeral orations. However, no writing principle was mentioned in the funeral orations after Zhu Meng. Among the four representative styles, only funeral oration was still openly read in the formal occasions nowadays. However, since funeral oration is a ritualistic form of writing, it is still largely restricted by the specifications of traditional rituals. From the ancient literature to the modern writings, scholars haven’t conducted much research on the funeral orations. This is an issue that we want to further improve on. In terms of connotation, the literature was inspected under the contemporary culture. In another words, literature could also reflect the contemporary culture. The policy, social interactions, culture, and restrictions on the feelings of the contemporary scholars are all expressed through funeral orations. These are all elements that could be studied respectively. Funeral specifications are expressed through traditional rituals. Sorrow of individual scholar was internalized into words. Inspections and discussions on the eternal concepts of death were also constantly processed. Through the study of funeral orations, the scholars’ sorrow towards the funeral subjects could be perceived. Authentic feelings people hold towards their families and friends all emerge under this very moment. We could also perceive the precedent’s confusions towards death and sentiments towards life. It allows us to redefine the value of our lives. Through death, we could learn more about life. We could even realize the real significance among the process from life to death.
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Hsu, Chai-Chen, and 許采甄. "Research of Poetry on Extolling Spring in the Song Dynasty." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/78636626633700785060.
Full textAbstract:
碩士國立成功大學
中國文學系碩博士班
94
Abstract Spring, a beautiful and prosperous season, brings people vitality and hope.Songs of spring in the nature display various aspects of spring scenes, and enrich each memory of life. The Chinese poets display various forms of literary works by way of depicting detailed changes of scenes in spring. Also, the poets, with their literary talent, reveal charming mien of spring. The study centers on the praise for spring in Song Dynasties. First, the writer mentions some works related to spring and literature from Chin Dynasty to Song Dynasty. Second, the writer has an overall discussion about extolling spring in Song Dynasty, and analyzes what spring means in the poems of this dynasty. This aspect includes all scenes that poets describe in spring, the beauty of springtime that people have enjoyed, and the feelings that poets generate when they face spring. Third, the study connects literary works and the spring equinox, representing the various lifestyles and deep cultural connotations of the people in Song Dynasty. Besides, the study displays the art form and the style of poetry on praise for spring in Song Dynasty by making use of rhetorical skills in this poetry. Last, the writer makes a comparison of poetry on extolling spring between North Dynasty and South Dynasty. For example, spring symbolizes the concepts of time, the changes of different seasons, and beautiful scenes for the people in the North Dynasty. On the contrary, this season presents the society’s misfortune and miseries, the poets’ terrible experiences in life, and sentimental attachment to their country for the people in the South Dynasty. Spring means more in the writing of the poetry in Song Dynasty. It’s believed that everyone has a better understanding of “spring” after poring over this study. Undoubtedly, the study will also help explore the area of research on poetry of extolling spring in Song Dynasty. Key words: extolling spring , poetry on praising for spring , North-Song Dynasty , South-Song Dynasty