Academic literature on the topic 'Tang-Five dynasties'

This thesis deals with historical narratives of two of the Northern regimes of the tenth-century Five Dynasties period. By focusing on the history writing project commissioned by the Later Tang (923-936) court, it first aims at questioning how early-tenth-century contemporaries narrated some of the major events as they unfolded after the fall of the Tang (618-907). Second, it shows how both late-tenth-century historiographical agencies and eleventh-century historians perceived and enhanced these historical narratives. Through an analysis of selected cases the thesis attempts to show how, using the same source material, later historians enhanced early-tenth-century narratives in order to tell different stories. The five cases examined offer fertile ground for inquiry into how the different sources dealt with narratives on the rise and fall of the Shatuo Later Tang and Later Jin (936-947). It will be argued that divergent narrative details are employed both to depict in different ways the characters involved and to establish hierarchies among the historical agents.

碩士<br>國立臺南大學<br>國語文學系國語文教學碩士班<br>102<br>Through evolution, Buddhism and note novels were exploded in Tang Dynasty at the same time. However, from the results of previous researches, there were few articles designed note novels as the main text and explored the impact of Buddhism on society. There are six chapters in this thesis. Chapter One is “Introduction”, which illustrated the author’s motivation and purpose of this research. The purpose was to excavate aspects of Buddhism that historiography could not catalog through value from “history heritage” of note novels. It also understood how the people in Tang Dynasty evaluated events related to Buddhism through novelists’ narration. Chapter Two is “The attitude that the ruling class had toward Buddhism.” Basically, the emperors of Tang Dynasty followed the principle that Taoism is before the Buddha and then decided the policy on Buddhism according to the preferences of belief and needs of politics. While using Buddhism, the emperors also gave it a courteous reception at the same time. However, it initiated tribulations and backlash from educated class and aroused factional struggle between anti-Buddhism and Buddhist worship from monks and common people because of over grant. Chapter Three is “The attitude that the educated class had toward Buddhism.” The attitude that the scholars had toward Buddhism in Tang Dynasty could be divided into anti-Buddhism and Buddhist worship. However, due to Buddhism spread far broad in Tang Dynasty and was ubiquitous, the scholars who were in anti-Buddhism position could not avoid the influence of Buddhism. This Chapter not only described specific actions that scholars had for anti-Buddhism and Buddhist worship, but also introduced friendly contacts between the scholars and the monks by categories to build features of contacts between the scholars and the monks in Tang Dynasty. Chapter Four is “The attitude that the civilians had toward Buddhism.” It introduced various activities that the civilians did with the center of temples in Tang Dynasty and phenomenon and problems came from the civilians enthusiastically participated in Buddhism. In note novels, the novelists could not only vividly depicted the civilians’ appearance, but also lodged criticism and worry in writings. Chapter Five is “The images of the monks in note novels in Tang Dynasty.” It introduced all kinds of images of the monks shown in note novels. After contrasted the images of the monks from this chapter and the attitude that each class had toward Buddhism from previous three chapters, it could detect the outlook of golden age on development for Buddhism in Tang Dynasty and the changes after communion and amalgamation between Buddhism and Chinese local culture. Chapter Six is “Conclusion.” It summarized discussions from each chapter and provided integrated evaluation of interaction between the people in Tang Dynasty and Buddhism.

碩士<br>淡江大學<br>中國文學系碩士在職專班<br>100<br>In the 21st Century, our people can enjoy ‘reading a book indoors and finding the great light of the ancient times shining on my face’, break the constraints of time and space and contact various foreign and domestic great writers of all times by reading books and learn with great scholar Confucius’ expectations of ‘keeping Tao (road or way) in mind, acting in accordance with De (virtue or morals), behaving on the basis of Ren (benevolence or humanity) and acquiring many Yi (arts or techniques). By drinking water and thinking the water source, we will realise the invention and application of woodblock printing plays a very important role in the great development of human civilization. Especially, in this modern time, there are great changes because material technology controls and rules civilizations and arts. While the other ancient civilizations, such as the Sumerians who were first creators of words, the Egyptian culture who were creators of pyramid building, and the Mayan culture, had all disappeared from history due to the battles between nations, we think about our ancestors of the Tang Dynasty and Five Dynasties and find they still valued culture and respected books and created woodblock printing, even during the period of An - Shih Rebellion and fragmented regime caused by soldiers, to preserve and spread Chinese culture all over the world. It shows that ‘attaching importance to woodblock printing’ is the descendants and offsprings’s reflection and performance of valuing and cherishing old civilization. The theme of this study is ‘Literature Study of Woodblock Printing in the Tang Dynasty and Five Dynasties’. Chapter 1 is the introduction to state the motivation and the expected results of this study. Chapter 2 is to analyze the background of time, culture and techniques in which woodblock printing was created and developed, that is, it was born over a thousand years of long brewing process of Chinese culture. Chapter 3 and 4 are the collection and collation of the historical documents of woodblock printing in the Tang Dynasty and Five Dynasties done by various experts and scholars as well as the traditional researches of authentic documents. And, on the basis of these materials, it is to observe the application range of woodblock printing in the Tang Dynasty and Five Dynasties and the overview of the interaction development between this technique and the society and culture at that time. Chapter 5 is to specify and interpret, on the basis of the documents in the preceding paragraphs, the characteristics of the documents of woodblock printing in the Tang Dynasty and Five Dynasties. Chapter 6 is the conclusion of the influence of woodblock printing in the Tang Dynasty and Five Dynasties on later generations. Because the existing authentic documents of woodblock printing in the Tang Dynasty and Five Dynasties are collected in the great museums all over the world, the writer of this paper can’t see all these documents personally so that this paper is developed and accomplished on the basis of the researches of the experts and scholars in former times and our time. It is expected that the authentic documents of woodblock printing in the Tang Dynasty and Five Dynasties can be gradually collected together from all over the world and more authentic documents can be found and announced so that the process in which our ancestors in Tang Dynasty and Five Dynasties had made great efforts to create and develop woodblock printing can be better understood, preserved and promoted by the future generations.

博士<br>國立臺灣藝術大學<br>書畫藝術學系<br>101<br>The Sudhana is a type of concept that many Southeast Asian Buddhist countries, such as China, India, Indonesia, Japan, Korea, and Nepal, all have in common. The style of this concept in Japan and Korea, all originates from the style used in China. The Sudhana concept dates back to the Tang and Five dynasty in ancient China, even though archaeologists to date have yet to find books and other written works in this type of style. The exploration of this concept has only been of it in the Song to Qing dynasties so far, and not in depth, but investigation of each individual case. Whereas the era which Japanese scholars mainly focus on is after the 12th century, with its discoveries being Japanese-made or Chinese-originating. Therefore, the investigation of the Sudhana in the Tang and Five dynasty period is worthy of note. I made use of typology, iconography, stylistics, etc to investigate the Sudhana concept in the Tang and Five dynasty. The main points of research are as follows: 1. From which Buddhist scripture does the Sudhana originate from? 2. What other images came as a result of the Sudhana concept? 3. The roots as well as change along with its reason for each individual image? 4. The relations between each concept, and whether they effect each other? 5. The cultural background and meaning behind each image? The focal point of this thesis is the artistic style of the Chinese exoteric buddhism system. The Sudhana of the Chinese exoteric buddhism system mainly draws on the Gaṇḍavyūha in Avataṃsaka Sūtra. The images here can be categorized into three sections: 1. The Sudhana in the Buddha world is place next to the Mañjuśrī and Samantabhadra. 2. In the paintings of Gaṇḍavyūha, the Sudhana takes on the role of a child. 3. If you look at the Sudhana on its own, it is an individual holy figure. Of the above three images, the first mentioned image is the first to be created, beginning in the High Tang dynasty and continuing until the Five dynasty. The second mentioned image was created in the Middle Tang dynasty and continued into the Five dynasty as well. The third image is the latest, having only been developed in the Five dynasty. In reference to the above three images, the first image focuses on depicting the Sudhana as a child, with few depictions of the Sudhana as an ordinary person. The second image, however, puts emphasis on portraying the Sudhana as an ordinary person, and not so much as a Buddha. The third type, shows the Sudhana taking on the role of an ordinary person. Furthermore, the Sudhana in the Buddha world was influenced by the story of the epiphany of Mañjuśrī in the Wutai Mountain allowing Sudhana to become Mañjuśrī's important family member. The same idea applies for Samantabhadra. From late High Tang dynasty to early Middle Tang dynasty, this type of relationship between the Buddhas started to spread from the Wutai Mountain area to many other places. Especially during late Tang and Five dynasty, images were localized, all Sutra were integrated, and had a dash of patriotism.   Also, the content of paintings in Gaṇḍavyūha can be categorized into three types: 1. When the Sudhana is seeking good friends and spiritual guides, they make use of spiritual abilities to communicate with the Sudhana 2. When the Sudhana is listening to teachings from good friends and spiritual guides, the Sudhana displays a very respectful attitude. 3. The Sudhana's difficult journey in search of good friends and spiritual guides. In these three types, the first and second type are the main focuses. In addition, the way Gaṇḍavyūha is portrayed, includes the conceptual form, the Sutra form, and the schematic form these three types. The conceptual form does not exactly follow Gaṇḍavyūha's content of paintings, but to show the concept, such as Mogao Cave 9 in Dunhuang. The Sutra form follows Gaṇḍavyūha's content of paintings, such as Mogao Cave 85 in Dunhuang. The schematic form is a simplified form of The Sutra form, such as Mogao Cave 156 in Dunhuang. The display of the Sudhana in the Tang and Five dynasty, although not as mature as the painting of Sudhana's pilgrimage in the Song dynasty, is the original display of the painting of Sudhana's pilgrimage. Therefore, the multi-changing process in the Tang and Five dynasty has great historical value.

碩士<br>國立臺南大學<br>國語文學系碩士班<br>101<br>Literary Sketch, in the form of sketchbooks, is character-centered and describes the plot structure in the story. Literary Sketch utilizes materials from everyday life, uses classical Chinese to describe characters, inclusive of fantastic ghosts, gods, spirits, personifying animals, plants or utensils. It’s not only the earliest literary form of fiction in Chinese fictional history, but also the sources of literary creation. As a result, it plays an important role in the history of Chinese literature. “報” (pronounced as /bao/), the Chinese character, can be traced back to long time ago. The character can be quite broad in its meaning, such as returning the favor (“報”恩, pronounced as /bao-en/) and taking revenge (“報”仇, pronounced as /bao-cho/). “報” has been always an eternally fascinating topic in western and eastern literature since ancient times. This research, based on the stories of animal karma in literary sketches in Tang and Five Dynasties, aims to analyze the motivation, the process, the behavior and the outcome of the animal karma. The result reveals that the revenge of the animals actually integrates opinions of Buddhist “return the favor”, Confucian benevolence and righteousness, loyalty and forbearance and Taoist “everything as the same”. The researcher attempts to emphasize the positive power of karma, reward or punishment, doing good deeds and respecting everything, make some contribution to moral education and environmental protection.