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1
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.
3
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.
8
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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Yang, Jihan. "On the historical development process and stages of Su Shi’s musical thought." OOO "Zhurnal "Voprosy Istorii" 2023, no. 6-2 (June 1, 2023): 234–39. http://dx.doi.org/10.31166/voprosyistorii202306statyi59.
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Su Shi, a famous writer, essayist, calligrapher and painter of the Song Dynasty, was a rare and versatile figure in Chinese history. The author intends to analyze the characteristics of Su Shi's musical thought in the three historical stages of its development: the Northern Song Dynasty, the Southern Song Dynasty and the Yuan Dynasty, and to explore the important inspiration of his musical thought on contemporary literary creation.
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Tang, Dandan, and Yuxuan Wang. "Analysis of aesthetic value of ancient books in Song dynasty——Board design and font illustration system based on Song Dynasty books." Advances in Education, Humanities and Social Science Research 6, no. 1 (June 7, 2023): 1. http://dx.doi.org/10.56028/aehssr.6.1.1.2023.
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The cultural industry and commodity economy of the Song Dynasty in China were very developed, which gave rise to a very complete book publishing industry. In addition to having high cultural value, the aesthetic value of books in the Song Dynasty cannot be ignored. The books of the Song Dynasty, as a model of ancient Chinese books, had very beautiful board designs and font illustrations, which had a huge impact on the design of later books. Therefore, analyzing the book design system based on the Song Dynasty can fully explore its aesthetic value, which is of great significance for the study of art history and modern book design.
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Shin, Byeol. "A Study on the Musical Relationship between <Yasimsa(夜深詞)> and <Jeongse(靖世)>." National Gugak Center 47 (April 30, 2023): 9–34. http://dx.doi.org/10.29028/jngc.2023.47.009.
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This study is the result of revealing that the movement <Jeongse(靖世)> of the Joseon Dynasty is musically related to <Yasimsa(夜深詞)>, which has been handed down since the Goryeo Dynasty, and examining the significance of the connection and the transmission process of <Yasimsa>.
<Jeongse> is a movement in the early Joseon Dynasty that is included in 『Sejongsillokakbo(世宗實錄樂譜)』 and is played in Aheon(亞獻) and Jongheon(終獻)'s Heonrye(獻禮) among the current jongmyo jeryeak. <Yasimsa> was created during the Goryeo Dynasty, and some of the lyrics and scores are delivered in 『Siyonghyangakbo(時用鄕樂譜)』 In this paper, we focused on the relationship between these two songs.
Through the 1980s, interest in the musical relationship between the movement of the Joseon Dynasty and Goryeo song emerged in the Korean traditional music and Korean literature circles. The study of this relevance greatly helps to grasp the music organization habits, characteristics, and the history of our music at that time. There have been no reports of music related to <Jeongse>, and while reviewing the movements of the early Joseon Dynasty, this paper confirmed that it shares a considerable melody with <Yasimsa>, a song from the Goryeo Dynasty.
<Yasimsa> is a song composed of 10 lines, and <Jeongse> is composed of 12 lines.
Except for lines 6, 7, and 8 of the melodies of <Jeongse>, all traces of extracting the melody of <Yasimsa> as it is or using decoration were confirmed. This melodic similarity suggests that the two songs have a strong affinity.
In addition, we looked at the pattern in which the melody of <Yasimsa> has been passed down through <Jeongse> to <Boye(保乂)> and <Jipnyeong(輯寧)>. At the beginning of <Boye> followed the melody of <Jeongse> and pursued some changes by adding decorations, but in the second half, a new melody was introduced to pursue many changes. And since <Boye> is a change of the name of <Jipnyeong>, the two songs are very similar. The melody of <Boye>, a total of five lines, was borrowed from <Jipnyeong> and the only difference is the end of the song. This follows the final method of the music included in the 『Sejongsillokakbo』. In summary, <Yasimsa> directly affected the melody of <Jeongse>, and the melody of <Jeongse> influenced <Boye> and <Jipnyeong> and has been passed down to the present.
As such, the movement of the Joseon Dynasty has a strong connection with the songs of the Goryeo Dynasty. As confirmed in this paper, some of the movements of the early Joseon Dynasty were adapted from Goryeo songs, and in this study, a melodic connection between <Jeongse> and <Yasimsa> was found, adding another example of the musical connection between the Goryeo Dynasty and the Joseon Dynasty.
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Qiu (邱靖嘉), Jingjia. "On Revision and Reconstruction: A Discussion about the Founding Year of the Jin Dynasty and Related Questions." Journal of Chinese Humanities 9, no. 1 (March 30, 2023): 41–60. http://dx.doi.org/10.1163/23521341-12340144.
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Abstract According to records in the Jinshi, Wanyan Aguda established the Jin dynasty and proclaimed himself emperor in the year 1115. He selected the dynastic name Da Jin and the era name Shouguo. Liu Pujiang’s publications, however, have raised serious doubts about the Jinshi version of the Jin dynasty’s founding narrative and sparked a scholarly debate on the matter. On the basis of Liu Pujiang’s research and by careful analysis of records on the founding of the Jin state in Song and Yuan dynasties documents and stone inscriptions, this article manages to restore a rough picture of the real history of the early Jin. On advice by his counsellor Yang Pu, Aguda established the Jin dynasty and declared himself emperor in the seventh year (1117) of the Tianqing period of the Liao. He proclaimed the dynastic name Da Jin and the era name Tianfu. The founding history of the Jin dynasty as described in the Jinshi should be considered the product of historical revision that occurred during the rewriting process of the Taizu shilu. The era name Shouguo was only created retrospectively.
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Nyanchen, Zhen. "THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 134–44. http://dx.doi.org/10.36340//2071-6818-2020-16-3-134-144.
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In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.
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Ying, Wang. "Writings on Patriotic Theme in Chinese Autobiographical Literature of the Song Dynasty China (960-1279." European Journal of English Language and Literature Studies 11, no. 6 (June 15, 2023): 58–81. http://dx.doi.org/10.37745/ejells.2013/vol11n65881.
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After the Yuan Army invaded the Central Plain at the end of the Song Dynasty, the Song Empire was broken. Faced with the atmosphere and historical background of the national crisis, the Song scholar-official class generally set up a moral standard and value system of "taking the world as their own duty", regarded loyalty to the country and the emperor as the most righteous path, and made a political choice to consciously transform their identity from scholar-officials to military generals who would save the country from being battered. At the same time, patriotic climax and expression of personality became an inseparable unity. Take Wen tianxiang for example, their loyalty to the Song emperor and patriotism was highly unified with their personality, it has been widely praised by future generations. The outstanding scholars’ writings made a patriotic literature climax at the end of the Song Dynasty. It not only reflected the profound influence of neo-confucianism on the personality construction of the scholar-officials and literary intelligentsia in the Song Dynasty, but also accorded with the orthodox literary thought in the Late Song Dynasty. In their patriotic writings, their noble national integrity of serving the country with death, coupled with their superb talent and creative skills, endowed their works with the epic temperament of shining through the ages. Therefore, the Song scholar-officials’ patriotic writing made the Song Dynasty a highlight moment of patriotic writing in the history of Chinese literature.
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Wang, Tongxin. "History of Chinese Classical Gardens." International Journal of Education and Humanities 4, no. 3 (September 27, 2022): 235–37. http://dx.doi.org/10.54097/ijeh.v4i3.1814.
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From the beginning of Shang Dynasty to the end of Qing Dynasty the development of Chinese classical landscape gardens went through five periods: the formation period of Shang, Zhou, Qin and Han Dynasties, the transition period of Wei, Jin, Southern and Northern Dynasties, the heyday of Tang Dynasty, the maturity period of Song, Yuan, Ming and Qing Dynasties, and the middle and end of Qing Dynasty. Five thousand years of glorious Chinese culture makes Chinese classical gardens different from Western gardens and Islamic gardens. The unique garden system and style give rise to the unique and profound Chinese classical garden system in world history. Based on the history of Chinese classical gardens, the paper focuses on the historical background of the development of the Song garden, the characteristics of typical gardens and literati gardens in the two Song dynasties, in order to understand the development process of the Song garden more deeply. Under the condition of learning and understanding, the method and concept characteristics of classical garden design in Song Dynasty are inherited and applied to modern garden planning and design.
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Zeng, Junxiang. "On the performance of conservatism in Song Dynasty and its influence on the Central Plains of later generations." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 1472–77. http://dx.doi.org/10.54097/ehss.v8i.4506.
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With reference to Martin Heidegger's concept of "Machination" and Hegel's master-slave dialectic thinking, this paper explores the reasons for the emergence of the Song Dynasty, a dynasty conservative feature with special research value in ancient China, from the perspective of human social history. As a dynasty whose economy developed rapidly but was repeatedly defeated, invaded, and forced to compromise with other nationalities, the Song Dynasty was different from the radicalism and chauvinism that the previous dynasties and even more ancient dynasties had always adhered to. The conservative attitude directly led to the demise of the Song Dynasty and had an important influence on the later Central Plains, which provided a reference for the governance decisions of the later dynasties for nearly a thousand years.
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Chai, Lin, Xiang Dong Zhu, and Chong En Wang. "Analysis of Temple Form and Sculpture Value of Song Dynasty in Southeast Shanxi – The Case of Zhangzi Chongqing Temple." Applied Mechanics and Materials 253-255 (December 2012): 67–70. http://dx.doi.org/10.4028/www.scientific.net/amm.253-255.67.
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Southeastern region of Shanxi Province exist the most architectures of Song and Jin Dynasty in Shanxi. As society and religions in Song Dynasty develop, the ancient architectures were paid more attention. The article takes Zhangzi Chongqing temple as an example to explore the characteristics of construction space form and artistic value through the analysis on the surrounding environment, group combination, plane layout and artistic value. This article provides strong evidence for the future researches on architecture style of Song Dynasty.
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Lu, Mengru, and Zhenlun Qi. "Analysis of the cause of the minimalist shape of Ru porcelain in Song Dynasty." Highlights in Art and Design 1, no. 3 (December 28, 2022): 127–31. http://dx.doi.org/10.54097/hiaad.v1i3.4062.
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Ru porcelain in the Song Dynasty is a general name of celadon fired by Ru kilns in the Northern Song Dynasty. The natural charm contained in the minimalist shape of Ru porcelain not only has a high artistic attainment in the Song Dynasty, but also has a great inspiration for modern and contemporary design development. By the method of literature research, this paper systematically traces the historical origin and development stage of Ru porcelain in the Song Dynasty, and analyzes the beauty of the shape, glaze and decoration of Ru porcelain through the method of artistic appreciation. At last, the paper analyzes the causes of Ru porcelain minimalist modeling from the political, economic and ideological aspects, and finally summarizes the enlightenment of Ru porcelain minimalist modeling to the development of modern and contemporary design.
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Rao, Shun, and Jing Liu. "Field Research and Study of Ceramic Wine Vessels in the Song Dynasty: Taking the Jingdezhen kiln as an Example." Journal of Innovation and Development 4, no. 3 (October 1, 2023): 93–95. http://dx.doi.org/10.54097/jid.v4i3.13510.
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The purpose of this article is to discuss the social background of wine utensils from Song Dynasty and the aesthetic views unique to the same period. Through field study and research on kiln sites such as Hutian kilns in Jingdezhen, it focuses on analyzing ceramic wine utensils from this period. In the context of the political, economic, cultural, and aesthetic ideas of the Song Dynasty, with the theme of the aesthetic style reflected in Song Dynasty wine utensils, it tries to learn the aesthetic value and functional value of Song Dynasty wine utensils under the background of “emphasizing literature and restraining military” based on the understanding of people's normal lives, social conditions, and religious culture at that time. We hole that it can provide a certain reference for future wine ware research.
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Sitanggang, Nicky Johanes, Dewi Ningsih Br Manalu, Lamsar Latinus Sihombing, and Ichwan Azhari. "Identifikasi Koin Kuno Dinasti Song Koleksi Museum Situs Kotta Cina." MUKADIMAH: Jurnal Pendidikan, Sejarah, dan Ilmu-ilmu Sosial 6, no. 2 (August 28, 2022): 454–65. http://dx.doi.org/10.30743/mkd.v6i2.5479.
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The Kotta Cina Site Museum is a museum where the archaeological findings of The Kotta Cina are stored in Medan city precisely near the Siombak lake, Medan Marelan District. The ancient coins of Chinese character are a proof that the Chinese people had carried out trading activities in the Kotta Cina we know today. Some of the coins collected by the Kotta Cina Site Museum are ancient coins dating back to the Song Dynasty. This study aims to identify ancient coins of the Song Dynasty to find out the identity of the coins, the size of each coin, and the type of material used in making coins. The research method used is a qualitative descriptive method to describe, describe, explain, explain, and answer in more detail the problem under study. From the results of the research, of the many coins collected by the Kotta Cina Site Museum, there are 34 Song Dynasty coins consisting of 31 Northern Song Dynasty coins and 3 Southern Song Dynasty coins. The entire coin identified was made of the main material iron which had a size of ≤23.99 mm including small coins and a ≥ size of 24.00 mm including large coins.
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Canton-Alvarez, Jose A. "A Gift from the Buddhist Monastery: The Role of Buddhist Medical Practices in the Assimilation of the Opium Poppy in Chinese Medicine during the Song Dynasty (960–1279)." Medical History 63, no. 4 (September 9, 2019): 475–93. http://dx.doi.org/10.1017/mdh.2019.45.
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This paper aims to critically appraise the incorporation of opium poppy into medical practice in Song-dynasty China. By analysing materia medica and formularies, along with non-medical sources from the Song period, this study sheds light on the role of Chinese Buddhist monasteries in the process of incorporation of foreign plants into Chinese medicine. It argues that Buddhist monasteries played a significant role in the evolution of the use of opium poppy in Song dynasty medicine. This is because the consumption practices in Buddhist monasteries inspired substantial changes in the medical application of the flower during the Southern Song dynasty. While, at the beginning of Song dynasty, court scholars incorporated opium poppy into official materia medica in order to treat disorders such as huangdan and xiaoke, as well as cinnabar poisoning, this study of the later Song medical treatises shows how opium poppy was repurposed to treat symptoms such as diarrhoea, coughing and spasms. Such a shift in the medical use of the poppy occurred after Chinese literati and doctors became acquainted with the role of the flower in the diet and medical practices of Buddhist monks across China. Therefore, the case study of the medical application of opium poppy during the Song dynasty provides us with insights into how the spread of certain practices in Buddhist monasteries might have contributed to the change in both professional medical practices and daily-life healthcare in local communities in that period.
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Wentz, Margaret R. "Song Dynasty Tiansheng Acupuncture Statue." Mayo Clinic Proceedings 91, no. 1 (January 2016): e19. http://dx.doi.org/10.1016/j.mayocp.2015.09.024.
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Yang, Haoran. "Diversity of form and meaning: A study of the evolution of the twelve zodiac signs between the Tang and Song dynasties." Journal of Education, Humanities and Social Sciences 34 (July 9, 2024): 59–68. http://dx.doi.org/10.54097/08gnq446.
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"Dafang et al. Collection of Sutras", the twelve zodiac animals are the representative artifacts in the tomb gods and evil spirits system, arrange, decorative theme of the Song Dynasty in the Sout. Discussing the function and belief connotation of the tomb gods and evil spirits system in the Song Dynasty. The twelve zodiac themes in Song tombs in the south serve as a concept of space tombs based on the concept of "Mingtang" in Tang and Song Dynasties.
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Storozum, Michael J., Qin Zhen, Ren Xiaolin, Li Haiming, Cui Yifu, Fu Kui, and Liu Haiwang. "The collapse of the North Song dynasty and the AD 1048–1128 Yellow River floods: Geoarchaeological evidence from northern Henan Province, China." Holocene 28, no. 11 (August 2, 2018): 1759–70. http://dx.doi.org/10.1177/0959683618788682.
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From AD 1048 to 1128, Yellow River flooding killed over a million people, left many more homeless and destitute, and turned parts of the once fertile North China Plain into a silted-up agricultural wasteland. Brought on in part by climate change and the Northern Song dynasty’s (AD 960–1127) mismanagement of the environment, the Yellow River floods likely hastened the collapse of the Northern Song dynasty. Despite the magnitude of this flood event, no sedimentary deposits have yet been linked to these historically recorded floods. In this research paper, we provide archaeological, sedimentary, and radiocarbon evidence of the AD 1048–1128 Yellow River floods at the Dazhanglongcun, Xidacheng, and Daguxiancun sites in Neihuang County, Henan Province. Based on our data, we argue that the AD 1048–1128 Yellow River floods deposited over 5 m of alluvium on villages in the North China Plain, radically changing both the physical and political landscape of Northern Song dynasty China.
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LEE, Hae-im. "The Study on Song Si-yiol’s the Theory of Chunqiu." Tae Dong Institute of classic research 48 (June 30, 2022): 67–94. http://dx.doi.org/10.31408/tdicr.2022.48.67.
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The purpose of this paper is to reveal the characteristics of Song Si-yeol's theory of Chunqiu, which inherited the great unity of the 'Gongyangzhuan'. At the time of Song Si-yeol, the Joseon Dynasty was humiliated by the Qing along with the collapse of the Ming Dynasty, and there were a lot of people who protested against the Neo-Confucianism after a war with the Qing. From this, Song Si-yeol declares that Joseon is civilized, that is, a civilized country in terms of region, tribe, and culture through the thought of great unity in 'Gongyangzhuan'. Since Qizi came to the east, Joseon has a close relationship with China in terms of tribe. In addition, Song Si-yeol asserts the great unity of the Confucian succession that leads to Confucius and Zhuzi through Jeong Mong-ju, based on the idea of respecting the Zhou. In terms of culture, this is to realize the great unity that even the Confucian scholars of Ming and Qing could not achieve it. From a regional point, it can be said that the conquest of the Qing Dynasty is an element of the great unity. In particular, Song Si-yeol pursues the conquest of the Qing Dynasty based on the politics of the true king. This is a different point of view from those who claimed the conquest of the Qing Dynasty by considering the logic or situation of the power at the time. And Song Si-yeol's theory of conquest of the Qing dynasty not only considers the lives of the people, but also seeks harmony between the ruler and the servants, and between the servants and the servants. Therefore, it can be said that Song Si-yeol's thought of Chunqiu is the idea of great unity that pursues the reconstruction of Joseon centered on the politics of the true king.
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Feng, Yuanyuan. "The Dissemination Methods and Significance of Intangible Cultural Heritage in The New Media Environment: The Example of Whisking Tea in Song Dynasty." Lecture Notes in Education Psychology and Public Media 4, no. 1 (May 17, 2023): 338–44. http://dx.doi.org/10.54254/2753-7048/4/20220388.
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In the history of Chinese tea, there is a saying that "tea flourished in the Tang Dynasty and flourished in the Song Dynasty", and whisking tea in the Song Dynasty had an extremely important position. Due to the influence of the general environment, the tea culture has been severely impacted, and the "whisking tea" culture has been restricted and gradually subsided. With the progress and development of the new media era, "whisking tea in the Song Dynasty" has gradually appeared in the field of vision of more and more people in different forms and methods, subtly affecting people's cultural life. However, thousands of years of tea culture need a certain amount of time to fully integrate with the development of the new media era. Only a few ancient tea arts have survived, and people have no concept of the skill of "whisking tea". This article briefly analyzes the different ways and different meanings of the dissemination of "whisking tea in the Song Dynasty" in the new media environment, and how it has an important impact on people's cultural life and national cultural exchanges. Through the Internet and offline field investigation to search for the differences between ancient and modern tea techniques combined with the comparison between ancient and modern cases, including people's understanding of whisking tea in the Song Dynasty and the specific manifestations of tea culture, the main tools Record and aggregate data reports through different new and traditional media.
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Zhou, Shuaitong. "Analysis of the Causes and Effects of Inflation in the Late Northern Song Dynasty in Ancient China." Advances in Economics, Management and Political Sciences 4, no. 1 (March 21, 2023): 366–73. http://dx.doi.org/10.54254/2754-1169/4/2022901.
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The Northern Song dynasty was one of the dynasties with a highly developed economy in Chinese history. In the middle and late periods of the Northern Song Dynasty, the country had a serious inflation problem. This article mainly refers to and summarizes the literature, and analyzes the emergence of inflation in the Northern Song Dynasty and its impact on society from the perspective of economics through the demand-pull, cost-push and monetary factors from the historical facts. High spending on officials, the military, and the royal family has left the country in financial trouble. To get rid of the financial crisis, the continuous exploitation and oppression of the ruling class and the influence of the war severely destroyed the productive forces. To alleviate economic pressure and curb inflation, the wrong monetary policy adopted during The Period of Huizong aggravated inflation, and the economy was hit hard when money could not be tightened. Finally, the Northern Song dynasty collapsed under the impetus of many problems.
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Wu, Yu, and Chengzhe Wang. "Exploring the Impact of Neo-Confucianism on Material Art Through the Artistic Characteristics of Kesi in Song Dynasty." Lecture Notes in Education Psychology and Public Media 51, no. 1 (May 20, 2024): 249–55. http://dx.doi.org/10.54254/2753-7048/51/20240968.
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The Song Dynasty was a period of great development in ancient Chinese art, including material art. Kesi, a type of material art is taken as an instance to explore how Neo-Confucianism influenced the development of art during the Song dynasty, a period marked by new developments in thought and culture. Neo-Confucianism impacted not only the political realm but also the art of painting, and further had a significant influence on the composition, coloring, and techniques of silk textile. The ornamental kesi taperstry paintings of the Song dynasty as a material artistry, similar with the style of flower and bird paintings of the period, focused on the realistic depiction of objects, using silk as a substitute for the brush. With image analysis, historical document research, and the corroboration between documents and physical objects, this article elucidates the artistic characteristics of kesi (silk tapestry) under the influence of the "investigation of things to extend knowledge" philosophy in Song dynasty.
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Huang, Wenji, Mingwang Xi, Shibao Lu, and Farhad Taghizadeh-Hesary. "Rise and Fall of the Grand Canal in the Ancient Kaifeng City of China: Role of the Grand Canal and Water Supply in Urban and Regional Development." Water 13, no. 14 (July 13, 2021): 1932. http://dx.doi.org/10.3390/w13141932.
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In the long history of the feudal society of China, Kaifeng played a vital role. During the Northern Song Dynasty, Kaifeng became a worldwide metropolis. The important reason was that the Grand Canal, which was excavated during the Sui Dynasty, became the main transportation artery for the political and military center of the north and the economic center of the south. Furthermore, Kaifeng was located at the center of the Grand Canal, which made it the capital of the later Northern Song Dynasty. The Northern Song Dynasty was called “the canal-centered era.” The development of the canal caused a series of major changes in the society of the Northern Song Dynasty that were different from the previous ones, which directly led to the transportation revolution, and in turn, promoted the commercial revolution and the urbanization of Kaifeng. The development of commerce contributed to the agricultural and money revolutions. After the Northern Song Dynasty, the political center moved to the south. During the Yuan Dynasty, the excavation of the Grand Canal made it so that water transport did not have to pass through the Central Plains. The relocation of the political center and the change in the canal route made Kaifeng lose the value of connecting the north and south, resulting in the long-time fall of the Bianhe River. Kaifeng, which had prospered for more than 100 years, declined gradually, and by the end of the Qing Dynasty, it became a common town in the Central Plains. In ancient China, the rise and fall of cities and regions were closely related to the canal, and the relationship between Kaifeng and the Grand Canal was typical. The history may provide some inspiration for the increasingly severe urban and regional sustainable development issues in contemporary times.
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Zhao, Chen Xin, and Wei Liu. "The Developing Process and Features of Chinese Classical Gardens in Ming Dynasty." Advanced Materials Research 838-841 (November 2013): 3035–41. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.3035.
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As a transiting period, the Ming Dynasty gardens showed a creation of its uniqueness. Private gardens in Ming Dynasty mainly focused on small courtyard, it had an unadorned style and they were extremely rich in symbols of leisure landscape; Ming royal gardens development was slightly left behind, but it lead itself to form a special style which was rough and heroic. Through analysis and comparison to the gardens from Ming, Song and Qing Dynasty, it is concluded that the Ming Dynasty gardens is an inheritance and development of Song Dynasty gardens intention, and its characteristics had a plentiful variation of space. To Sum up, the Ming dynasty gardens chose circuitous paths, enhancing the level of landscape and highlighting central spot of landscape as its routine.
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Jang, Kyoung-A. "An Analysis of ‘Hangje’ Cases Through the Perspectives of Epitaphs and Genealogy －Focusing on the Anyang Han Clan of the Song China－." Korean Society of Human and Nature 5, no. 1 (June 30, 2024): 261–74. http://dx.doi.org/10.54913/hn.2024.5.1.261.
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This paper analyzes the “Hangje” of the Anyang Han clan during the Song Dynasty based on an initial case study of the Tang Dynasty’s Nak-An Sohn clan. By analyzing Han Qi’s The Literary Collection of Anyang, the recently excavated epitaphs of the Anyang Han clan, and The Genealogy of Xiaoshan Yidu Han Family Clan, it was possible to reconstruct the specific appearance of the “Hangje.” As a result, it was revealed that the generational ranks were assigned based on birth order of each male member, including cousins of the same generation among the extended family members within the Song Dynasty’s Anyang Han clan. This is a similar result to the research previously conducted by the author regarding the Nak-An Sohn clan of the Tang Dynasty. Despite a time gap of about 200 years between the Nak-An Sohn clan of the Tang Dynasty and the Anyang Han clan of the Song Dynasty in Chinese history, both clans are believed to have maintained a hierarchical system, known as “Hangje,” based on the birth order of family members, thereby suggesting a continued tradition of establishing generational ranks to preserve familial order among descendants sharing a common ancestor. In Imperial China, in order to establish the hierarchical order within the same clan, Chinese families adopted the practice of giving family members the names that included a common Chinese character for those of the same generation. Furthermore, each member was assigned a generational rank (行第: Hangje) to further distinguish the order within the family. This family-centric hierarchical structure likely played a crucial role in defining roles and responsibilities within the family, fostering harmony among its members, and contributing to the maintenance of social order.
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Jiazhi, Li, Deng Zequn, and Xu Jiming. "Technical Studies and Replication of Guan Ware, an Ancient Chinese Ceramic." MRS Bulletin 26, no. 1 (January 2001): 31–37. http://dx.doi.org/10.1557/mrs2001.16.
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When North China was invaded in 1127, the emperor of the Song dynasty moved the capital to Lin'an (now called Hangzhou) in Zhejiang Province southeast of Shanghai. He established the Southern Song dynasty (1127–1279 a.d.), known as a period of cultural flowering and stability in Chinese history. Several years later, official kilns were built by court officials to meet the need for the porcelains required for use at the Southern Song palace.
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Fang, J. N., L. P. Tan, and E. Huang. "Modes and textures of secondary minerals on Chinese coins of different ages." Mineralogical Magazine 67, no. 1 (February 2003): 23–29. http://dx.doi.org/10.1180/0026461036710081.
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AbstractA thorough assessment of the secondary minerals on 796 Chinese Pb-Cu-Sn-Zn bronze coins from ∼1100 BC to AD 1911 has been made. Malachite is found on more than 80% of the coins irrespective of their dynasties, but a botryoidal texture is only observed on the coins of the Song dynasty or older. Azurite, however, is seen in microscopic quantities on a single coin of ∼AD 1800, but is clearly visible on the Ming dynasty or older coins. Cerussite is a common secondary mineral of the Qin dynasty and older coins, though it has not been found on the Qing dynasty or younger coins. Cuprite is observed on the Song dynasty and older coins.
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Liu, Yuxin. "The Development and Evolution of Scholar-bureaucrat Politics in the Northern Song Dynasty." Communications in Humanities Research 2, no. 1 (February 28, 2023): 145–54. http://dx.doi.org/10.54254/2753-7064/2/2022466.
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The literati and officialdom in the Northern Song Dynasty developed a political consciousness and demands that had not existed among their predecessors. They established political identities and cultivated a strong sense of political subjectivity. This paper mainly examines how the literati and officialdom politics developed and evolved in the Northern Song Dynasty. Using the research method of literature reviews, the paper focuses on the following questions: how the emperors of the early Northern Song Dynasty designed and constructed governing structures, how these structures affected the literati and bureaucratic system, and how literati and officialdom politics developed based on their acceptance and rejection of these ideas. The Northern Song literati showed their unique cultural profile as they ruled together with the emperor and, as a result, created a peculiar literati bureaucratic politics. The Northern Song literati bureaucrats evolved and strengthened their subjectivity both through the political status they acquired and through their political participation.
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Liu, Yuxin. "The Development and Evolution of Scholar-bureaucrat Politics in the Northern Song Dynasty." Communications in Humanities Research 2, no. 1 (February 28, 2023): 145–54. http://dx.doi.org/10.54254/2753-7064/2/20220466.
Full textAbstract:
The literati and officialdom in the Northern Song Dynasty developed a political consciousness and demands that had not existed among their predecessors. They established political identities and cultivated a strong sense of political subjectivity. This paper mainly examines how the literati and officialdom politics developed and evolved in the Northern Song Dynasty. Using the research method of literature reviews, the paper focuses on the following questions: how the emperors of the early Northern Song Dynasty designed and constructed governing structures, how these structures affected the literati and bureaucratic system, and how literati and officialdom politics developed based on their acceptance and rejection of these ideas. The Northern Song literati showed their unique cultural profile as they ruled together with the emperor and, as a result, created a peculiar literati bureaucratic politics. The Northern Song literati bureaucrats evolved and strengthened their subjectivity both through the political status they acquired and through their political participation.
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YANG, Jiahao, and Ye TANG. "The Concept Discernment of “Witch Doctor” in Song Dynasty." Institute of History and Culture Hankuk University of Foreign Studies 88 (November 30, 2023): 249–66. http://dx.doi.org/10.18347/hufshis.2023.88.249.
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As an ancient profession, witches have experienced the transformation from officials to civilians, from “god” to “devil” with the development of time. By the Song Dynasty, the derogatory meaning contained in the word “witch” was already very strong. At the same time, under the influence of the appellation, spells, clothing and other factors of witches in the Song Dynasty, Song people often referred to other similar occupations and liars as witches—especially in the context of medical treatment. Therefore, from the perspective of the Song dynasty, the term “witch doctor” primarily referred to a group of witches specializing in witchcraft, which also included other masters and some false practitioners claiming to have similar abilities. As a result, the negative reputation garnered by disgusting conduct of fraudsters and other unscrupulous individuals within the group was unfairly attributed to witches.
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Harrington, L. Michael. "The Postulate of Clarification in Cheng Yi’s Commentary on the Book of Changes." Signs and Media 1, no. 1 (August 25, 2020): 92–107. http://dx.doi.org/10.1163/25900323-12340006.
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Abstract Erwin Panofsky developed the postulate of clarification to explain the mental habit common to Gothic architecture and Western medieval scholasticism, but the postulate is equally applicable to the commentary tradition of Song-dynasty China. The commentary on the Book of Changes authored by Cheng Yi (1033–1107) provides a good example of how the Confucians of the Song dynasty took their concern for clarity to a recognizably medieval extreme. By looking at how Cheng Yi understands and foregrounds the clarity of the Book of Changes, we can begin to see both what was medieval about Song-dynasty China and why the medieval method continues to be viable for interpreters of the Book of Changes.
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Li, Wen, Wei Duan, and Qu Shi. "Song Dynasty Garden Art and its Inspiration on the Modern Urban Landscape." Applied Mechanics and Materials 744-746 (March 2015): 2206–11. http://dx.doi.org/10.4028/www.scientific.net/amm.744-746.2206.
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Chinese garden art originates from Shang and Zhou Dynasties,drives to maturity in Song Dynasty nurtured by the renovation and development of Wei, Jin, Sui, Tang, Northern and Southern Dynasties. Affected by the situation of valuing literary talent above martial arts, Song Dynasty garden art made a great progress in the aspect of thinking, architecture, plants, rockery and layout of waters, the interests and artistic of paintings and poems became the most notable characteristic of gardens built in Song dynasty. Its space principle and aesthetics taste are totally different from the western gardens, which have a lot of features worthy to be learned and used in modern garden and urban designing of China.
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Lee, Chang Wook. "The Official relations between Song China and Koryo dynasty." Korean Society of Human and Nature 3, no. 1 (June 30, 2022): 97–119. http://dx.doi.org/10.54913/hn.2022.3.1.97.
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The following paper is trying to examine the restoration of the official diplomatic relations between Song China and Koryo dynasty during the late 11th century. This paper is also trying to investigate the differently written Chinese and Korean primary sources especially in relating to the 1068-1071 historical incidents. The political situation in the 11th century not only formed a new international order in East Asia but also established a balance of power among the Khitans, Song China and Koryo dynasty, such that there was no single power dominated. Peaceful conditions were thus maintained and led to economic and cultural prosperity in this area. After Koreans accepted Khitan supremacy through the long wars between the two states in 1019, the Koryo dynasty had sought strategically important ally in East Asia, particularly with the Song which eventually restored the official diplomatic relations between the Chinese and Koreans during the 1068-1071. Since that time, the relations between the Song and Koryo dynasty were so close that they not only exchanged envoys but also many cultural products. For instance, In 1079, when King Munzong of Koryo fell ill, Emperor Shenzong had specially sent medical officials to cure the aged Korean king as an expression of the importance of this state to the Song government.
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Wang, Li. "The Relationship Between Imperial Power and Phantom Power in The Song Dynasty from A Psychological Point of View." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 232–38. http://dx.doi.org/10.54097/yvhsr855.
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From 221 B.C., when Emperor Qin Shi Huang claimed the title of Emperor, to 1911, when the Xinhai Revolution overthrew the Qing Dynasty, the period of feudal empire in China lasted more than two thousand years. To consolidate their rule, emperors of all dynasties continued to strengthen the centralization of power and put as much power as possible into their own hands. Therefore, during the two thousand years from the Qin to the Qing Dynasty, the centralization of China’s imperial autocracy was constantly strengthening. As an essential period in China’s history, the Song Dynasty profoundly impacted the later generations of society in all aspects of politics, economy, and culture. The relationship between imperial and relative power in the Song Dynasty has been a point of endless debate among scholars of later generations. In recent years, with the continuous development of psychohistory, more historians have begun to pay attention to more internal development. This paper combines historiography and psychology, exploring the inner of the emperor himself to conclude the relationship between imperial power and relative power in the Song Dynasty.
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Li, Lizhu. "The Diversity of Confucianism in the Southern Song Dynasty: A Comparative Study of Zhu Xi's and Zhang Shi's Views on Taiji and Human Nature." Sungkyun Journal of East Asian Studies 22, no. 1 (May 1, 2022): 113–27. http://dx.doi.org/10.1215/15982661-9767222.
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Abstract Zhang Shi 張栻 (1133–80), a Confucian scholar of the Southern Song dynasty, has been considered as yielding to Zhu Xi's 朱熹 (1130–1200) ideas in most cases, his own thought exhibiting no specific features. This essay is an attempt to examine the differences between Zhu Xi's and Zhang Shi's supreme pivot (taiji 太極) and nature (xing 性) theories. The features of Zhang Shi's thought and his influence on the neo-Confucianism of the Southern Song dynasty should be reexamined. Some contemporary scholars, including Zhang Shi, have been ignored to a certain degree since Zhu Xi was praised as the representative scholar of neo-Confucianism. This study shows the diversity of neo-Confucianism in the Southern Song dynasty.
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Li, Lizhu. "The Diversity of Confucianism in the Southern Song Dynasty: A Comparative Study of Zhu Xi's and Zhang Shi's Views on Taiji and Human Nature." Sungkyun Journal of East Asian Studies 22, no. 1 (May 1, 2022): 113–27. http://dx.doi.org/10.1215/15982661-9767222.
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Abstract Zhang Shi 張栻 (1133–80), a Confucian scholar of the Southern Song dynasty, has been considered as yielding to Zhu Xi's 朱熹 (1130–1200) ideas in most cases, his own thought exhibiting no specific features. This essay is an attempt to examine the differences between Zhu Xi's and Zhang Shi's supreme pivot (taiji 太極) and nature (xing 性) theories. The features of Zhang Shi's thought and his influence on the neo-Confucianism of the Southern Song dynasty should be reexamined. Some contemporary scholars, including Zhang Shi, have been ignored to a certain degree since Zhu Xi was praised as the representative scholar of neo-Confucianism. This study shows the diversity of neo-Confucianism in the Southern Song dynasty.
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Nosochenko, M. A., and Y. Li. "Main Features of Civic Music During the Reign of the Song Dynasty." Topical Issues of Culture, Art, Education 36, no. 2 (2023): 43–49. http://dx.doi.org/10.32340/2949-2912-2023-2-43-49.
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This article examines the reign of the Song Dynasty and its influence on the development of musical art. This period was a turning point in the development of music, literature and theater in China. Thanks to the development of urban construction and economic activity, as well as the appearance of a large number of citizens representing various segments of the population, urban art also developed rapidly in this era. Civic (urban) music most vividly expresses the culture of the Song Dynasty epoch. The development of civic music has led to the fact that Chinese music has become popular, mass. This article examines the peculiarities of the musical culture of the period of the Song Dynasty. The work uses the historical method of research.
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Kaziev, Eduard V. "Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China." Vestnik of North-Ossetian State University, no. 4(2020) (December 25, 2020): 31–38. http://dx.doi.org/10.29025/1994-7720-2020-4-31-38.
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Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.
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Kaziev, Eduard V. "Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China." Vestnik of North-Ossetian State University, no. 4(2020) (December 25, 2020): 31–38. http://dx.doi.org/10.29025/1994-7720-2020-4-31-38.
Full textAbstract:
Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.
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Kang, Jin Seok. "Northen Song Dynasty Guanzhong Guanxue-School." Journal of international area studies 12, no. 1 (April 30, 2008): 3. http://dx.doi.org/10.18327/jias.2008.04.12.1.3.
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HASEGAWA, Masahiro. "Sutra Copying in the Song Dynasty." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 46, no. 2 (1998): 589–95. http://dx.doi.org/10.4259/ibk.46.589.
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HASEGAWA, Masahiro. "Artistic Monks of the Song Dynasty." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 47, no. 1 (1998): 19–23. http://dx.doi.org/10.4259/ibk.47.19.
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