Dissertations / Theses on the topic 'The late Tang Dynasty'

x, 276 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The late-Qing tanci "A Pair of Male Phoenixes Flying Together" (Feng shuangfei ; preface dated 1899) is unusual for its depiction of a wide variety of gender issues and sexual relationships. Because the 52-chapter work is credibly attributed to the female poet Cheng Huiying, who is known to have written the poetry collection Beichuang yin 'gao , the tanci gives scholars a unique opportunity to see how a gentry woman thought of the gender roles and sexual politics of the late Qing. My dissertation contains two major sections. Chapters I and II look at Cheng Huiying and her work as part of the `talented women" ( cainü ) culture. These two chapters demonstrate how Cheng Huiying deliberately establishes herself as a unique female writing subject and advocates women's agency in determining their own marriage arrangements. one of women's biggest concerns in premodern China. Chapters III to VI put Feng shuangfei into the larger context of male-authored fiction and examine how it adopts and rewrites the conventions and motifs common to xiaoshuo fiction from a female writer's perspective. I first argue that Feng shuangfei can be considered a serious literary work due to its sophisticated structural design and characterization, although tanci are usually considered as more popular literature. I then evaluate how the female author of this tanci subtly reinvents three gendered motifs that commonly appear in male-authored xiaoshuo fiction. The three motifs are male same-sex eroticism and homosociality, female same-sex desires, and the stereotypes of shrew and ideal wife. Through subtle twists in the plot, the tanci suggests the possibility of the expression of female subjectivity and agency within patriarchal Confucian society even while it follows and supports the normative Confucian order. The perspectives on gender norms and sexual practices offered in this tanci both display how a gentry woman thought about these issues in late imperial China and suggest how the rapid and vast social and ideological changes occurring during the turn of the century opened new spaces for Cheng Huiying to imagine increased agency and autonomy for women within the domestic sphere.
Committee in charge: Maram Epstein, Chairperson, East Asian Languages & Literature; Yugen Wang, Member, East Asian Languages & Literature; Tze-lan Sang, Member, East Asian Languages & Literature; Ina Asim, Outside Member, History

In the history of Chinese literature, poetry is undoubtedly the most significant genre that could represent the Tang Dynasty. There were many great poets including Li Bai and Du Fu who wrote regarding a rich variety of topics. This thesis attempts to study the research works of Ganyu Poetry in the perspective of the literature history and aesthetic conception. It is hoped that this dissertation can give readers a clear understanding of Ganyu Poetry in the Tang Dynasty. Through studying the themes and aesthetic features and of Ganyu Poetry, we could discuss this kind of poetry written in different centuries. As the basis of this study is the "Quantangshi", the content and the aesthetic features of Tang Ganyu Poetry will be discussed. "Quantangshi", is a collection of the primary source of Tang poetry published in the Qing Dynasty, that was amended by different scholars. The 74 poems with the theme of Ganyu Poetry from Tang Ganyu Poetry will be studied. There are five chapters in this thesis, preceded by an introduction. Chapter one deals with the introduction of the structure of this thesis, the literature review, the research methods and the significance of the research. Chapter two explains the definition of Ganyu Poetry based on the literature review and previous research conducted by other scholars in order to define the meaning of Ganyu in this thesis and design the scope of study. Chapter three discusses the development of Ganyu Poetry in the early Tang, mid Tang and late Tang periods. Chapter four makes an analysis of the aesthetic features of in Tang Dynasty in order to give us a thorough understanding on Ganyu Poetry. Chapter five, the concluding chapter, summarizes the arguments stated in this thesis. 一代有一代之文學，最能代表唐代的文學是詩歌，詩人輩出，如李白、杜甫；詩派紛繁，題材多變。唐代感遇詩是十分重要的唐詩類別，不少作家均曾創作感遇詩，如陳子昂和張九齡。本論文選擇研究唐代感遇詩這個題目，以整體的文學史視野來研究唐代感遇詩的論著，運用美學觀念分析的研究。本文也希望能藉今次研究，加深我們對唐代感遇詩的認識，並且能對「感遇」這種文學的主題類型和美學特質加深理解，恊助我們討論不同時代的「感遇類」詩詞作品。 本論文將以《全唐詩》作為研究基礎，研究唐代感遇詩的內容和美學特徵。《全唐詩》是清代的唐詩總集，後經不同的學者修正，收錄第一手紥實的唐詩材料，作為研究的根據。本人搜尋《全唐詩》中以「感遇」為題的詩歌作為研究對象，共有74首詩，全文分為五個章節，第一章是導論，介紹全文的架構、研究回顧、研究方法和研究重要。第二章對「感遇詩」作出定義，爬疏文獻資料和前人學者的研究，說明本文對「感遇」的理解，劃出一個研究範圍。第三章會探討「感遇詩」在初唐、盛唐、中唐和晚唐發展情況，勾勒唐代感遇詩的發展概況。第四章以美觀念切入，探討唐代感遇詩的美學特質，配合第三章的主題分析，讓我們更全面認識唐代感遇詩。最後，第五章是結論，總結全文的論點。
published_or_final_version
Chinese Language and Literature
Master
Master of Arts

碩士
南華大學
宗教學研究所
104
Zen practice, understandably, is from the perspective of the practitioners, and noted that a search for truth. It’s the ray of hope when we faced with pondering puzzled. In this regard, "going out" has been a way to find a answer and to spread ideas. 　　This paper is discussed under the Middle and Late Tang Dynasty, we realize the presentation and implication of the Zen practice from the experience of Patriarch. In the Sixth Patriarch Master "had no one" stand point, based on the non-duality of the Buddha and ourselves, we analysis how the master have a basic direction or promote the process through the Zen practice under the pluralism in Zen. And from the Patriarch’s behavior, we understand the implications of Zen practice, and provide as a reference model. 　　Middle and Late Tang Dynasty era, due to the integration and the development of the way, to request instruction becomes the main way to practice Zen. At this time, for the men who approach the awakeness, they help to promote them, for those not yet mature, they also give them direction, or guide together with other teachers. The teacher helps them to brought introspective contemplation and exploration. In the cognitive plane, they understand that everything has its antecedents, from your mind to the surroundings, all can become the exploring medium. In the action surface, they revel in the currency and find its way to practice Zen. 　　In addition, because of their own respective conditions and encounters, practitioner explores the different way. At this time, the appropriate choice can find the direction of the correspondence. Therefore, the choice under the Zen practice, practitioners choose the correspondence, to cumulative their nutriment of blessedness.

博士
國立中正大學
歷史研究所
99
Institute of History, National Chung Cheng University Abstract The traditional official schools in China can be generally categorized into central official school and local official school. In Tang Dynasty, the development of systems in official schools were well-established, being treated as the era of “inheriting the past and ushering the future”, “Expansion of Scale”, “Integrated Development”. Completed systems of official schools had been set up in the early Tang Dynasty; however, after Turmoil of Anshi in Tang Dynasty, official schools had begun to present a situation of decline. In early Tang Dynasty, private education was a bit weak due to advanced development of official schools. While until middle and late period, official schools fell, along with imperial examinations, private schools had become the theme of education. During mid and late time in Tang Dynasty, official education tended to fall, and educationalists as well as scholars of history often discussed a little about them rather than carrying research in detail, which was quit a pity; as for private education, a part of scholars had conducted research further, achieving considerable results. Based on this, this paper tries to discuss the development of official education and private education and demonstrates in a full and whole way. Education in Tang Dynasty was taken Confucianism as the core in both official education and private education. It aimed at cultivating people to devote to dynasty by political thought and maintaining of social order. The great power of the culture spirit made domination of the dynasty last long. By means of imperial examination to select the distinguished people, one aspect is to deepen Confucianism ideology in Scholar stratum; on the other hand, it can make the social talent come round so as to establish a more profound social foundation. Scholars tend to neglect the important role that education has taken. One of the goals of this study is have a complete understanding of to the influence that has generated from education development, politics, society and culture during mid and late period in Tang Dynasty. The paper is concentrated on the theme of education, which is same with the research in traditional education. It considers official schools and private schools as the principal axis, and also discusses issues related to education like teaching materials, teaching methods, education as well as imperial examination, and includes the issue of education development. The research approach of this paper is planned to read up the historical material, abstract and themed, classified, summed up, identifying features of the historical data; besides, it applies the method of comparison and analysis, which analyzes various education and presents kinds of education content and features. Moreover, this paper uses quantitative statistics or lists of items, making further demonstration and interpretation. Finally, this study tries to use historical interpretation once more to explain historical material and present the truth as well as era significance of education development in the mid and late Tang Dynasty. The objectives of this paper are showed in several aspects. Firstly, it discusses the education development in the mid and late Tang Dynasty, making up for the deficiency in educational history and history; it discourses and illustrates through social and cultural perspectives in order to break through the old way that educational history focused on education administration as well as the restriction of school systems. Secondly, it aims at numerous factors that continued after Turmoil of Anshi in Tang Dynasty, pointed out interpretation in education and culture. Thirdly, it keeps education remaining dominant, discussing politics that connects to education development (including imperial examinations), society and culture, as a whole, investigating them through synthetical views. Fourthly, it proposes “heritage in Tang Dynasty” and illustrates influence and enlightenment of Tang Dynasty exerts on the Northern Song Dynasty.

碩士
國立臺灣大學
中國文學研究所
105
The scholar-officials and literati immigrating south in Tang Dynasty not only contributed to the spread of culture, but also mapped the literary geography of their settlement region in southern China. The majority of researches in the literature of southern China in Tang Dynasty has mainly focuses on the works of relegated officials or the officials far away from home. These researches explore how the space was presented and mental state was depicted in a non-Central Plain region in the literature. This study supports the notion that those poetic writing of the literati was an important clue to understand the nature of southern China in Tang dynasty. This study, however, also examines its authoritativeness and canonicity, considering whether it excludes the other ways to perceive the “South”? Three geographical descriptions in the mid-and late Tang period – Beihulu by Duan Gonglu, Manshu (literally means “Barbarous Document”) by Fan Chuo, and Guilin fengtu ji ("Land and people of Guilin") by Mo Xiufu – are selected as the subjects for this study. The study looks into the three books which have long been neglected or simply considered to be historical resources of local gazetteers. The purpose is to complement the deficiency of the researches in the literature of southern China in Tang Dynasty and try to create a new dimension of research perception. One the other hand, it also explores how those writers on the edge of “Hua-Xia” – the territory of Han Chinese culture – perceive, depict, and even construct the “South” in their sight. 　This study has indicated that the texts of the geographical descriptions for “South” in Tang Dynasty were not merely objective observations but the authors’ recognition and imagination of the local. To be more specific, these geographical descriptions for “South” were not just historical documents, they also showed the dialectics of Hua–Yi distinction (Sino–barbarian dichotomy), the understanding of the local, and people’s self-positioning.In Duan Gonglu’s Behulu, we can see how those unusual, exotic and precious plants and animals in Lingnan region were recorded in the literature, being decoded and interpreted comprehensively as the elements of the “Territory of South” in the memory of history under the sight of “Beihu”. And Fan Duo even finished Manshu for Yunnan, which he had never been to, in the background of the war between Tang and Nan Zhao. He traced back to the “old land” they’d lost, summoning the heroes of Han, such as Ma Yuan and Zhuge Liang, in his writing. The book, consequently, was just not a local gazetteer for geographical record but one in mourning the victims under the shadow of war. And “Guilin fengtu ji” presented another aspects of the border area of southwestern China. Through the literature record of the heritage of poems, history and gods, Mo Xiufu not only presented the astonishing natural scenery of Guelin, but also portrayed the image of Chinese garden from literati''s vision. To sum up, these writings for non-central plain areas of China in Tang Dynasty made us not only rediscover “the others” that we’ve overlooked, but also examine and argue the essence of “the center”. In this sense, these geographical descriptions and their knowledge construction, no doubt, has value as geographical documents. The most important point, however, is that these geographical descriptions exhibit how “the South” was like under the Tang people’s perception and cognitive frames.

碩士
玄奘大學
宗教學系碩士在職專班
100
Buddhism was derived from the 6th to 5th century B.C. It was introduced to China in the Eastern Han Dynasty and reached its peak in the Tang Dynasty which was the Buddhist center of the oriental world. During that time, there were a great number of Buddhists coming from the neighboring countries to study Buddhist doctrines in the Tang Dynasty. Buddhism was introduced into China as a totally different kind of culture and gradually became the core of Chinese culture. It was originally a kind of aristocratic belief popularized in the upper class of the society and was spreading in the general civilian society as well as competed with Taoism developed in the local China on equal terms. Buddhism is a type of foreign culture. Upon the contact with China, it is accepted as the reigning tool of a King on the one hand and rejected as the oppositions of Buddhism on the other hand. The Huichang Opposition of Buddhism started by Emperor Wuzong of the Tang Dynasty is a key for Chinese Buddhism turning from prosperity to decline for a great number of ancient Buddhist books, records and cultural systems were destroyed at that time. Fortunately, Japanese Buddhists in the Tang Dynasty brought back Buddhist sutras and preserved a lot of Buddhist culture. Mikado successively dispatches diplomatic corps to the Tang Dynasty in a formal manner to study for 19 times for the purpose of importing institution, regulations, systems and culture of the Tang Dynasty. Moreover, the spread of Buddhism plays a vital role among the imported cultures. The Buddhist scriptures and doctrines brought back by the Japanese Buddhists lay the foundation for the development of the Japanese Buddhism and reflect what Buddhism looked like in the late Tang Dynasty. Ennin (794-864), Japanese Buddhist of Tiantai Sect who learned in the Tang Dynasty, writes The Record of a Pilgrimage to China in Search of the Law and Ennchin (814-891) writes Ennchin’s Diary. Both of them entered in the Tang Dynasty successively in the period of Opposition of Buddhism. The vicissitudes of Buddhism in the Tang Dynasty can be observed in another perspective from their observation records. They recorded the relationship between Buddhism and the country, different kinds of Buddhist activities and rituals occurred in the late Tang Dynasty and social functions of the temples. Through the first hand biography data of the two, the study deals with Buddhist phenomenon in the late Tang Dynasty on the basis of religion. The paper is divided into seven chapters. The first chapter is the introduction which states the research motive and briefly introduces the literature review. The second chapter is records of Chinese and Japanese Buddhism exchange. It discusses the exchange history of Chinese and Japanese Buddhism and introduces Ennin’s experience and Ennin's Diary, The Record of a Pilgrimage to China in Search of the Law; and Ennchin’s experience and the value of Ennchin’s Diary. The third chapter is the relationship between Buddhism and the country which tells the characteristics of Buddhism in the Tang Dynasty to going to the society and its development under the relationship of politics and religion in the Tang Dynasty. What’s more, it also explains the whole story of Huichang Opposition of Buddhism. The fourth chapter is the Buddhist belief and religious activity which presents civilianization and diversification of Buddhism belief in the late Tang Dynasty from Buddhist activities such as sacrifice of Buddhist relics, praying for rain, abhiseca of Esoteric Buddhism, sermon, fasting ceremony and Obon Festival. The fifth chapter is the records of Buddhist temples. It presents the role and importance of Buddhist temples in the late Tang Dynasty from the Buddhist culture exchange, preservation of cultural relics, civilian recreation and social welfare facilities. The sixth chapter is the religion and Buddhist sutras. It discusses the development of Buddhism in the late Tang Dynasty through the relationship of Japanese Tiantai Sect and Chinese Buddhism and analyzes the Buddhist sutras brought back by Ennin and Ennchin, so as to present the vicissitudes of Chinese Buddhism after the Huichang Opposition of Buddhism. The seventh chapter gives the conclusion which summarizes the key points of the above chapters and general ideas of this thesis.

博士
中國文化大學
中國文學研究所
89
Yong-shi-shi (Poems on History) of the late Tang dynasty may be said to belong to one of two major types, one placing primary emphasis on literary values and the other stressing narrative or story elements. The latter type enjoyed considerable popularity during the late Tang era, when poets such as Hu Zeng, Zhou Tan and Wang Zun devoted much time and effort to the composition of such verse, much of it solidly grounded in historical circumstances. However, often considered to lack strong literary values, their efforts in this wise won them little respect from literary critics of the time and harsh treatment from scholars of later eras. On the other hand, these verses were later cited extensively in various pinghua and yanyi historical prose narratives. Therefore, believing this verse deserves careful reevaluation, the objective in this dissertation has been to focus on the role and function of such narrative verse as cited in later popular literature, and in particular to seek to demonstrate the reasons why Hu Zeng''''s poems were so often cited in Yuan dynasty pinghua and yanyi of the Ming and Ching eras, and what values in particular they tended to lend those popular literary works. In that way, Hu Zeng''''s contributions to Chinese literary history are reexamined and cast in a new and more positive light.

碩士
逢甲大學
歷史與文物管理所
97
The Ten Sages of Xiantong are the poets who are the Juren (the second degree scholar), Jinshi (the third degree scholar), and the lower class government officials during the reign of the Emperor Tang Yizong (859-873). Tangshijishi and Tangzhiyan indicate the ten sages are actually twelve people. They are Tang Xu, Qiao Zhang, Yan Ju, Tao Ren, Bin Zhang, Gu Zheng, Xian Wen, Changfu Li, Yao Zhou, Dazhi Yu, Qiyuan Li, and Han Wu. Both Yan Ju and Tao Ren only have a half poem left to the present, and the works of Qiyuan Li and Han Wu are completely lost. From the style of Kuyin (hardship of poetry writing), they create their own clear and simple style and fill in the gap between the earlier Tang poets such as Bai Li, Fu Tu, Dao Jia, and Ho Yao, and the early poetry of the Song Dynasty. In 871, the Ten Sages of Xiantong all participated in the National Examination of the Third Degree Scholars, and Tang Xu, the only one who passed the Examination, had taken it for thirty years. Bin Zhang finally passed for thirty-five years, and Gu Zheng for sixteen years. The other members also had participated in the Examination for more than ten years. Every year they attended the Examination and hoped the success would change their life. Nen Xue and Ping Li are closed friends to the Ten Sages of Xiantong and constantly encouraged them. The Tang Poetry is very rich in topics, amount, and forms, compared with the poetry before. The late Tang Poetry reflects different social issues such the difficulties of the life of the ordinary people and how the poets face these difficulties. The late Tang Poetry influences the later poetry very much. Unlike the early Tang Dynasty, the late Tang Dynasty has fewer opportunities for the government administration. Intelligentsia might spend half of their life to earn a position in the government. Under this situation, how do the Ten Sages of Xiantong view their own works? What kind of relation do they have among their acquaintances? How is their financial situation for taking examination every year? What kinds of social issues are reflected in their works? This essay studies the works of these poets in Quantangshi with the historic information from Book of Tang, Zizhi Tongjian, Tangzhiyan, Tangshijishi, Tangcaizi Biography, Tang Huiyao, Tang Yulin, Denkejikao, Prime Tortoise of the Record Bureau, Tanyinkueqian, and Beimengsuoyan. This essay also consults other historic information and the researches of the modern scholars. That it is created to the later poet in order to analyse and probe into studying the Ten Sages of Xiantong .

碩士
南華大學
宗教學研究所
102
Zhaijiao keyi, commonly called Taoist rites, is a unique ritual of Taoism that has become an important mental habit for people’s life and culture for thousands of years. Growing on fat soil of Chinese sacrificial culture, it absorbs worship ceremony culture of Chinese ancient primitive religion as well as sacrifice of patriarchal clan system, thoughts of Taoist practice and folk customs that are handed down from pre-Qin period. Current rich and comprehensive Taoist ritual (Keyi) model is formed through a gentle evolution of official and folk ways of sacrificing and a summarization by high-level Taoist priests of different generations. Taoist rites can not only embody theological thoughts and philosophic theories but also be practically applied to life and thus affect internal mental level. Taoism advocates morality, privacy, naturality, health maintenance, stable state and home, safeness, benefits to neighbors, and an idea of upholding justice; all these concepts are deeply rooted in people’s mind. Consequently, abundant data about Zhaijiao ritual can be found in historical records, biographies, notes, novels, collected works, poetry anthologies, inscriptions, alchemy and literatures. Zhang Zehong indicated in “Introduction” of “Taoist Belief of Immorality and Sacrificial Ceremony”: “in development of human religion, belief and ritual are always two important scopes. Each religion has a belief in gods and ritual is precisely an action of practicing such belief”. In Zhaijiao ritual, actions for a sacred belief in natural law, humanity and earth law utilize symbolic expression of such ceremony to present people the large group of 3600 Taoist immortals. 　　This paper is divided into five chapters. Chapter 1 is the introduction. Chapter 2 explains principle of respecting the god and abiding to ancients, Zhaijiao of Taoism and etiquettes of ancient sacrifice offering ceremony. Chapter 3 gives definitions of “Zhai” and “Jiao” and introduces Zhaijiao Keyi of Taoists. Chapter 4 compares ancient and modern Zhai ceremonies. Chapter 5 draws conclusions. 　　Chapter 1 is an introduction, which describes main motivations and purposes of this paper, statuses of contemporary people engaged in Zhaijiao Keyi of Fulu Taoist and relevant researchers, investigates values and significance of ancient rituals in modern Zhaijiao Keyi, as well as explains research scope and overall framework of this paper. 　　Chapter 2 shows that modern Zhaijiao is an extension of “blessing” implied in the principle of respecting the god and abiding to ancients. 　　Chapter 3 expounds significance of Zhaijiao and evolutionary process of “Zhai first and Jiao later”. It also explains that it’s necessary to abide by precepts and deeply regret for previous mistakes before practicing Zhai and thus to be qualified to host Jiao ritual or show appreciation to the god. 　　It also summarizes high-level Taoist priests and works that can be traced back to Han, Wei, Jin, Northern and Southern Dynasties, Sui, Tang, Five Dynasties and Ten Kingdoms, Song, Yuan, Ming, etc so as to prove extensive and important contents inherited by nowadays rituals. 　　Chapter 4 implements a comparison to demonstrate current Zhaijiao Keyi, concepts and rites that are originated from ancient methods, and proposes concrete meanings by virtue of contents, purposes and significance stated by high-level Taoist priests of different generations. 　　Chapter 5 is “conclusion”, which describes HH research results, generalizes ancient and modern Taoist rites introduced in preceding five chapters, and provides notable points and future prospects to persons engaging in Keyi and those in charge of Taoist temple constructing, repairing and directing.

碩士
國立成功大學
中國文學系碩博士班
97
The intention that Guang Si-Ma wrote “Tzu-chih tong-jian” was rather take “Zuo-Zhuan” as a model than follow the example of “Chun-Chiu.” “Zuo-Zhuan” originated from explaining the meaning of “Chun-Chiu,” and “Tzu-chih tong-jian” inherited “Zuo-Zhuan.” There are some similarities between them because both of them are influenced by “Chun-Chiu.” This essay aims to discuss the Penmanship of “Chun-chiu” of “Tzu-chih tong-jian,” and then to investigate the succession and the change that “Tzu-chih tong-jian” comes from “Chun-Chiu.” The Penmanship of “Chun-chiu” of “Tzu-chih tong-jian” can be discussed in two aspects: cerebration content and skill formality. In cerebration content, “ingenuously speaking according to the facts” is the main feature of “Tzu-chih tong-jian.” Guang Si-Ma used many methods such as “zhu-ci-bi-shi,” “shu-er-bu-zuo,” “zhu-chu-jian-yi,” “yi-xu-wei-yi,” “jie-oen-chi-shi,” ect to describe history events, which made readers find advantages and disadvantages from detailed and omitted, light and stress and different and similar. That is the key point of the Penmanship of “Chun-chiu.” Although the criticism of “Tzu-chih tong-jian” does not focus on every single word, there are “shu-zhi method,” “xu-zhi,” “zhong-chi-zhu-shu,” “cheng-wei-shio-zhi,” etc. Sometimes the author would also took circumlocutory way such as “yun-ce-bi-hong-tuo” and “qu-bi-hue-shi.” Others like “shen-zhan-shan-mo-chi-shi-guan,” “li-shi-lun-zan” and “chen-guang-yue” are the characters that “Tzu-chih tong-jian” not only followed but deepen the tradition. The follow and change of “Tzu-chih tong-jian” from the penmanship of “Chun-chiu” mainly presented in “zun-wang and ta-yi-tong,” “zheng-ming and li-zhi-si-xiang,” “yi-sia-guang,” “shi-wei-shen-shi,” etc. Some might be affected by “gong-yang theory.” However, the focus is always on how to manage and govern the society. According to the two aspects, we can find that “Tzu-chih tong-jian” did not only follow the penmanship of “Chun-chiu” but also came up with new insights. Therefore, it can also be a master of great leaning and integrity.

碩士
長庚大學
工業設計研究所
94
Abstract Industrial design and macro market are facing the global local competition. In the post modern society of the 21th century, to discover the culture resources and its applicational strategy have become the new badge of culture & creative industry. “Creativity” has been thought as the key driving force to structure the knowledge economy society in this century. The relationships between design, art, human, life, culture, and society are getting close. On the basis of this background, this research surveys the process of our culture property and industrial design. The purpose of this study are 1)Study the way industrial designers, being good in thinking by the graphic, utilize non graphical media in the design process; 2)The way domestic students, who used to be educated by the western ID concept, treat and use the culture resources, such like Chinese poetry. This research utilized “three dimension of creativity” including: 1)“Self evaluation” questionnaire and the Creative Personality Scale. 2)“Graphical and Verbal Potential Creativity test” adapted from “Torrance Tests of Creative Thinking” (Torrance, 1974) by Dr. Wu. 3) “Creativity Performance” shown by design task experiment. 4) Extensive interview to conduct the empirical and qualitative study. The goal of this study was to assist the design educators to think about how to stimulate the creativity of the students of industrial design by Chinese poetry. The results indicated that the industrial design students were used to produce the design concepts using graphical example. However, there were 94.4% subjects in the survey still encountered obstacles, indicating that graphical examples can not solve such situations. We found that the industrial design students have better creativity potential in language. Through the interview with subjects, we also found the industrial design students were interested in using and learning the Chinese poetry. The results also shown that except the elaboration there were no differences between the Chinese poetry and graphical examples in the test of creativity. The meanings and images of the Chinese poetry affected the design fluency, flexibility and the total scores in terms of Torrance test. The subjects can not understand the whole image of Chinese poetry, and they took the simplest meaning in the experience. Therefore, we suggest to precede the learning and preparation for this particular creativity tools. Industrial designers excel the other students in the creativity potential in language. Once the non graphical tool could be used in the design education, it is possible to expect the culture potential harvesting the design creativity in the future.

碩士
國立臺灣大學
中國文學研究所
101
The revolution and evolution of literary forms is of paramount importance to the study of the Gu-wen (Ancient Prose) Movement during Dynasty Tang. One of the ways to observe such changes and following impact, is to analyses the literary works, and the compilation of literary collections by gu-wen writers, to compare the similarities and differences of the view on literary forms of gu-wen during Middle and Late Tang Dynasty. Tang literature uses literary form to determine a work’s placement in literary collections. Intact literary collections from the period are already rare indeed, however collections which are strongly affiliated with the Gu-wen Movement make up the majority of the surviving collections. The major ones being Dugu Ji’s Collected Works of Pi-ling, Han Yu’s Collected Works of Master Chang-li, and Du Mu’s Collected Works of Fan-chuan. Of these three, the one that has been given the most attention for its association with the Ancient Prose Movement is doubtless Han Yu, a principle proponent and progenitor of the movement. Those collections connected with the Gu-wen Movement are most important when examining the changing concept of literary form via the changing principles of collection arrangement. Due to Han Yu’s diligent attempts to break the mold of literary form, he is of signal importance. Dugu Ji was a pioneer in literature looking to Han Yu for inspiration. Though Du Mu was not Han Yu’s disciple, he promoted Han Yu and Liu Zongyuan’s works, and became one of the remarkable Gu-wen writers in the Late Tang period. Both of them respectively belong to the period before and after Han Yu, their representative value is undoubted. The collection assembled by Li Han the Collected Works of Master Chang-li is of central importance; after this comes Liang Shu’s Collected Works of Pi-ling and finally Pei Yanhan’s Collected Works of Fan-chuan. The view of these three authors and these three editors toward literary form, both in points differing and resembling, can serve be used to observe the former, middle, and later periods of literary collections. This thesis places greatest emphasis on the views of the three original authors and then uses the viewpoints of the collection editors for reference in order to better explain the process of change that occurred in the Gu-wen Movement- as well as examine Han Yu’s contribution to and influence on the Gu-wen Movement. Dugu Ji’s literary works most often adhere to the rules of literary genre. His epitaphs such as ‘Epitaph of the Junior Chamberlain of the Grand Court of Revision and Censor of Tang, Master Du gu from Henan’ adhere to the rules for the genre, individually and in the established order listing the subject’s name, family, and life events. His gift prefaces, for instance, the ‘Preface presented to Li Bai departing for Cao-nan’ are filled with a passionate style but are still in keeping with the demands of genre laid down in previous generations; it has no major deviations from established form. His prefaces for literary collections such as the ‘Preface of Collected Works of the Deputy Rectifier of Tang, Huangfu Ran’ emphasizes the principles of the Gu-wen Prose Movement and did not deviate from literary tradition. Liang Shu was Dugu Ji’s student who compiled the Collected Works of Pi-ling after his death. The arrangement of literary forms in this collection is clear and organized; the order of the collection is rational and shows the influence of Zhao Ming Selected Works, placing rhapsodies and poetry first followed by essays. Every section is divided into first public then private works and first those works regarding the temporal world followed by those works about death. The section for every literary form is chronologically ordered. Several sections are additionally ordered by the elegance or vulgarity of the content, as well as the principles of base position or high position, close or distant relationships, etc. The sections thus tend to be ordered internally by content and then by year. At the same time Liang Shu also considered the author during the editing process. Liang made certain modifications to the ordering that adhere to Dugu Ji’s ideal principles on gu-wen writing. Han Yu was not constrained by traditional standards of writings. He managed to grasp the essence of the changes and development of literature, so as to the basis of his innovative reform movement. Han Yu’s ‘za-zhu’ (雜著), such as ‘The Five Discourses’ (五原), ‘Miscellaneous Talk’ (雜說), ‘Epilogue of the Bibliography of the vice censor-in-chief, Zhang Xun’ (張中丞傳後敘), and ‘Account of a Painting’ (畫記) are examples of his genre-breaking works. He has been accused of “making literature a game”, “filling his works with fluff and not substance”- but this only highlights the history-making nature of his ideal literary standard. His deconstruction of form to create literature can be seen as a sort of literary game, as an experiment in breaking old forms in traditions. This way of writing certainly attacked the traditional Tang understanding of literary form and its purpose- and Li Han’s understanding of literature reflects this. Li Han was the son-in-law of Han Yu’s eldest daughter. He compiled a collection for the Han Yu works, while his way of going about it was appropriately unique. Although Li Han also followed the accepted pattern of rhapsody, poetry, and composition, it’s also obvious from his organization that his concept of literary form was already quite different from Liang Shu’s. He put all the unique ancient prose, ‘za-zhu’ written by Han Yu and placed it after rhapsodies and poetry at the head of the composition section. This sort of organization in a literary collection was unheard of and far-reaching in its consequences. His wild and unclear organization of sections and the material organized into each section was the subject of much debate by scholars for years after. Many believed that though he was Han Yu’s student he did not understand the true nature of Han Yu’s gu-wen and this was the cause of such reckless organization. This is reflective of the change in thinking that Han Yu’s Gu-wen Movement caused in literary forms. Li Han’s view of literary forms had already loosened and caused began to cause him difficulty in determining into which category each work should be sorted. As scion of a noble house, Du Mu was a Confucian master, skilled in the military theories, an accomplished poet. He set out to be the glory of his house and the reformer of his nation. His admiration for Han Yu and Liu Zongyuan’s literary style influenced his literary style. His work with ancient prose literary forms spanned numerous genres, many of which were similar to the ones that Han Yu had worked in, for instances, ‘Record of a General in Yen’ (燕將錄), ‘Bibliography of Lady Dou’ (竇烈女傳), and ‘Preface of Sun Tzu with Annotations’ (注孫子序 ). Many of his works like ‘Discourse on the Imperial Guards’(原十六衛) and ‘Argument on Face Reading’ (論相) can be seen as literary form breaking, but his focus was not on deconstructing the forms and neither was it on literature as a game. But compared with Dugu Ji, who was previous to Han Yu, his concept of literary form is already greatly loosened. Pei Yanhan was Du Mu’s nephew and was asked by Du Mu to compile his literary works. The result of Pei’s labor was the Collected Works of Fan-chuan. Compared with Li Han, Pei’s ordering is quite tidy. The traditional system of rhapsodies and poetry followed by composition is followed in Du Mu’s collection. The editor tends to follow accepted practice as well using the social status and kin relationships of the recipients of each work to determine its placement in the collection- and of course finally putting this system into chronological order. The Collected Works by Fan-chuan also has another important point. Du Mu once burned his manuscripts which he considered extraneous, which implies his remaining works are much more representative of his literary views than they would otherwise be. However, Du Mu’s editor placed all those works which defied classification at the head of the collection- a move similar to Li Han’s, and this also shows that Pei Yan-han was well aware of both the classic concept and gu-wen concept of literary form and knew how to strike a balance between them in the ordering of Du Mu’s literary collection. By comparing and contrasting these three collections- their editors and authors- we can understand the values of the ancient prose movement and its aesthetic system more clearly. This comparison furthermore provides an invaluable chance to see the true extent of Han Yu’s influence on the Tang dynasty concept of literary forms.

博士
國立中央大學
中國文學系
102
This is a study on the moral philosophy of Wan tang-nan (王塘南, 1522-1605). As a disciple of Wang Yang-ming (王陽明, 1472-1529), Wan tang-nan is known for his creative interpretations of Wang Yang-ming’s theory of the concept of “pure consciousness” (良知). Some commentators doubt about Wan tang-nan had already disobeyed Wang Yang-ming’s doctrine, and others took Wan tang-nan’s works as a contribution to the development of the theory of pure consciousness in the later part of the Ming dynasty. This thesis attempts to show that Wan tang-nan interpreted Wang Yang-ming’s doctrine by his comprehension to solve the problems that other disciples of Wang Yang-ming had caused. There are three characteristics could be pointed out. The first, Wan tang-nan’s moral philosophy was set up through the onto-cosmological statements as a foundation of his theory. Secondary, Wan tang-nan tried to explicate the concept of pure consciousness in terms of the concept of “under the transcendence and beyond the empirical world” (先天之子，後天之母) and the “channel” (發竅). The final, Wan tang-nan argued that pure consciousness could not be yielded by moral decision or judgement. Pure consciousness could only present itself in human mind by truly realizeise or affection, and Wan tang-nan called such a kind of practical activity the “wu xing” (悟性) or “tou xing” (透性). It is not difficult to figure out, Wan tang-nan’s interpretation of the concept of pure consciousness is different from Wang Yang-ming’s. However, if not only the transcendental property of pure consciousness but also the possibility of instantaneous actualization of pure consciousness should be keep, Wan tang-nan’s unique theory provided a proper solution to the problem that Wang Yang-ming gave us indeed. Furthermore, a developing direction that focus on the “invisible” (密) was raised and a clue of the study of Liu ji-shan (劉蕺山, 1578-1645) was discovered in Wan tang-nan’s moral philosophy.

碩士
臺北市立師範學院
視覺藝術研究所
89
Abstract Figure painting is the earliest and thoroughly developed subject with respect to painting in the Chinese painting history. It has been constituted far earlier than any other painting subjects, such as the painting of cattle and animals, flowers and birds, landscape, and so on, whatever in the aspect of technique (or skill), content, and theory. In the mean time, the representative painting of Buddhism and Taoism derived from figure painting was overwhelmingly stimulated and well-rounded developed following by the flourishing popularity of Buddhism and Taoism. On the other hand, it has also been enthusiastically and popularly created by most of painters born in the Tang Dynasty because the style of painting, which was generated from Buddhism and Taoism, provided people more imaginations of freedom and creativity than merely figure painting. Most of ordinary painting annals will only pay attention to the early or high Period of Tang Dynasty when it comes to talk about the painting styles as well as distinctions during the Tang Period. What’s more, when talking about the artistic trend of Tang Dynasty, most of people will focus the most on the magnificent, confident, and all-embracing flourishing phenomena of high Tang Dynasty. However, the historical annals didn’t pay much attention to the artistic trend during the mid- and late Tang Period. On one hand, those annals treated the mid- and late Tang Period as the bridge linking up the art of Tang and Sung Dynasty. On the other hand, they concentrated very much on the Chinese court painting, flowers and birds painting as well as landscape painting style during the period of Five Dynasty. As for the art development of Mid- and Late Tang Dynasty, the annals paltered with illustrating the artistic circumstances casually. Nevertheless, by means of painting history regarding to Tang and Sung Dynasty, such as «Record of Famous Painters of Successive Dynasty»,«Shiuan-Hoh Commentaries on Painting»,«Record of Experiences of Paintings», people can thereby visualize the radiant phenomena in relation to the development of painting of Buddhism and Taoism during the Mid- and Late Tang Period after analyzing all kinds of descriptive data. It has been disclosed from the fact that the painting style derived from Buddhism and Taoism has demonstrated the both many producing quantities and radiant situation no matter from the perspective of the portraitists who are so good at painting the portraits of Buddhism and Taoism or the viewpoint of narratives which has depicted the topics of the painting of Buddhism and Taoism. The analytic emphases of this dissertation are as follows: 1.Analyzing and comparing the change of painting contents, which the painters of Tang Dynasty were so good at, from those preserving painting histories since Tang and Sung Dynasty. By the way, the mission was primarily focusing on the « Record of Famous Painters of Successive Dynasty » and «Shiuan-Hoh Commentaries on Painting», and complementarily combining with «Record of Experiences of Paintings», «Record of famous Paintings of I-Chou», and then, corresponding those descriptions within painting history to the verification of mural paintings of the cavern. 2.Analyzing and comparing the change of painting contents, which the painters were born before or after the revolt of the rebellion of An Lu-shan and Shih Sze-ming were so good at or the fluctuations of volumes based on all topics of preserving painting work pieces, from the painting history taken the revolt of the rebellion of An Lu-shan and Shih Sze-ming as the point of delimitation to examine the previous consequence of research. As a result, the research can be treated as the more persuasive quantitative illustration with respect to the rise and decline of the Buddhism and Taoism painting history during the Mid- and Late Tang Period. 3.Analyzing the transformation of locations that can be well illustrated the abundance of the painting of the Tang Dynasty from the depiction of painters’ province and county of their family registers directly derived from the painting history. Meanwhile, we can accordingly realize the abundant evidence of the painting style of Szechwan during the end of Tang, Five Dynasty, as to the early Sung Dynasty. 4.From the depiction of the painting history in company with the preserved painting work pieces of the Tang Dynasty, on the primary part of the Fo-kuang temple of Wu-tai mountain of Shansi province and the Mogao Grottoes of Dunhuang, in order to more clearly clarify the style characteristics and transformation of the Buddhism and Taoism painting history during the Mid- and Late Tang Period. 5.Reappearing the peak and golden periods of the art of the Buddhism and Taoism painting history during the Mid- and Late Tang Period by means of the record of Tang and Sung painting history as well as the contents of annals so as to explore it effect toward every sort of painting subject to the subsequent dynasties.

碩士
國立臺南大學
國語文學系國語文教學碩士班
102
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
中國文化大學
史學研究所
92
The Tang Dynasty inherited the prosperity of the Six Dynasties. Its society was affected by contact with the West. In addition it opened itself to new differences. The Tang Dynasty became the peak of Chinese culture. Its culture then reaches to its peak in the history of China. This diversity reflected on the lives of its women. Thus, women’s fashion in the Tang Dynasty was fascinating and splendid in a way like never before. Contrasting to women’s clothing, the studies of Tang-women’s makeup and hair fashion was very little. Although few academics studies have been published and archeological findings have been discovered, there are few complete and thorough works. Today’s technology has reached to a high level. Modern technology and imaging tools can help the studies and analysis of women’s fashion to be more systemized. This article concentrates on hair fashion, facial decoration and makeup. It collects these fashions broadly and classifies them systematically. There are personal observations in some parts, and people’s opinions in other parts. I hope this article can be interesting and helpful to the people interested in the same field. As to the study procedure, this study uses previous studies as a base and added with newly discovered archeological sources. Furthermore, it draws on literature, poetry, and period paintings in the process of its analysis and comparison to receive the finest result.

碩士
東吳大學
歷史學系
98
The peasant has been a cardinal issue in the academic circle for quite a long time. It was so in the Tang Dynasty. For the mandarins, two contradictory aspects exist side by side in the peasant issue and they can be represented respectively by two poetic genres, pastoral and social; the former depicts a tranquil and peaceful life while the latter, a confrontation between peasants and the society. However seemingly diametrical, these two ways of life coexist in the Tang Dynasty. A merry life is possible for the peasants when there is no extrinsic intrusion yet the plight is inevitable due to the inevitability of different intrusions. The Tang government, by legislating and carrying out various laws, attempts to establish a well-found institution for the peasants. These policies of goodwill, ironically, carry within many insolvable problems. After the An Shi Rebellion, peasants’ predicaments irrepressibly come to life which indicates the rising conflict between the peasants and the government. The government therefore tries hard to tackle such a tumultuous crucible to sustain itself. With the abolishment of Tsu-yung-tiao and the following reform of the Law of the Two Taxes in the Jianzhong era, even though the immediate conflict is eased, the basic problems remain, even grow worse in a longer term. Because of this, the efficacy of the Law of the Two Taxes is open to debate. Facing this worsening situation, it becomes even harder for the mandarins to bring themselves into full play. As a result, some of them choose to return to an agricultural life away from the political milieu. These ex-mandarins, after renouncing the political status, gradually find and construct an inner world. Most of them are the “rich peasants” as far as the government is concerned. For one thing, they are the principal source of governmental tax; for another, they become the provincial arbitrators. Such an unintentional change also signals an inner aspect of the Tang-Song period of reformation.

碩士
逢甲大學
歷史與文物管理所
95
The bronze mirror culture of Tang Dynasty is the second climax in Chinese bronze evolution history, characterized by its splendid emblazonry, diverse embellishment, and innovative form. Some of the Tang bronze mirrors are either unearthed now or handed down for generation. These bronze mirrors not only convey the art and aesthetic of Tang Dynasty, but also an illustration of Tang Dynasty culture. The emblazonry and inscription on the bronze mirror describes the life, affairs, and matters. Anything including popular activities or preferred animals or plants can be seen on the bronze embellishment. Furthermore, the fashionable embellishment on the bronze mirror is also able to reflect the ideology, such as the Tang people’s yearn for secluded lives, the idea of male supremacy over female, the religious belief of Taoism and Buddhism are also to be found on the bronze mirror embellishment. Besides, bronze mirrors participated lives of Tang people, not limited to regular face reflection, but the usage ranged from socio-culture soothsaying and medication, funerals, wedding ceremonies and even to the derivation of analogy of mirrors. At the same time, the function of derivation of analogy of mirrors in Tang literature created popular, often-quoted and widely loved novels. The mirrors were also describe as bright moon, lake water, moral character, the longing for someone, laments for time passing by, and more, which expressed the emotions inside poets and writers. Partial features of Tang thinking and lives can be understood through this writing. Shown on the embellishment of bronze mirrors and through the interaction of bronze mirrors and Tang Culture attached importance to the Bronze mirrors of Tang Dynasty. And consequently, more diverse features were developed from there.

博士
輔仁大學
中文系
92
This dissertation is a synchronic study of theory of Tang poetry in the Yuan Dynasty. It aims at analyzing Yuan readers’ understanding and reception of Tang poetry. When discussed from the aspect of diachronic studies, this dissertation is a part of the study of theory of Tang poetry; while explored from the aspect of synchronic studies, this analysis is a part of the study of Yuan poetry. In other words, though the synchronic study is the focus of this dissertation, the diachronic study of theory of Tang poetry should also be taken into consideration. Therefore, on the basis of synchronic and diachronic studies, substance of theory of poetry in the Yuan Dynasty will be explored. Three issues will be examined in this dissertation. The first is a study of circumstances in which Yuan readers research into Tang poetry. Understanding and interpretation of Tang poetry by Yuan readers will be regarded as reception. As readers’ expectation of Tang poetry varies, their evaluation and interpretation of these poems will be different. Thus, factors influencing readers’ expectation will be explored. Besides, influence of the Mongolian government on literary milieu in the Yuan Dynasty, status of “poetry” in the mind of Yuan readers, and their definition of “Tang poetry” will be focuses of this analysis. The second issue is an exploration of Tang poetry in the mind of Yuan readers. This topic will be discussed in three ways. One is overview of Tang poetry. An analysis of styles and phases of Tang poetry will reveal Yuan readers’ apprehension of Tang poetry. The second is examination of poets. In addition to Li Po and Du Fu, some famous and less famous Tang poets will be discussed. Dissemination of poems, analyses of theory of poetry, and different images of poets will also be explored. The third is compilation of Tang poetry in the Yuan Dynasty. Motivation of compiling Tang poetry, organization of poetry collections, criteria for selection of poems, and spreading and evaluation of poetry collections will be analyzed. The third issue is a study of characteristics of theory of Tang poetry in the Yuan Dynasty. To understand characteristics of theory of Tang poetry in the Yuan Dynasty, theories of poetry in different dynasties will be compared and analyzed.

碩士
中興大學
歷史學系所
99
The culture of banquet was based on sacrifices to gods or ancestors in Shan Dynasty. And it was developed to be based on etiquette in Chou Dynasty. Then in Han Dynasty, poets would composed poems in the banquet; otherwise, it was widespread to combined entertainment with banquets in Wei Jin Southern and Northern Dynasties. Why was the culture of banquet so well-developed and full of varieties? In addition to the influences of the dynasties above, it related to the king’s promotion, people’s demands, abundant foods and goods, the development of food and beverage industries, the varieties of entertainment, and so on. No matter what kinds of banqueting activities were, they were all in connection with interpersonal relationship. The banqueting activities always went with political affairs and benefits. Due to the stable regime, developed economics, and external culture, the creature comforts were better than before. And it followed the tradition of banquets combining with singing, dancing and music. However, the luxury of the banqueting culture damaged the stable base of the Tan Dynasty.

博士
玄奘大學
中國語文學系碩博士班
103
Costumes are the external presentation of culture and they can reflect cultural characteristics and spirit of an era. In the history of Chinese costumes, costumes in Tang Dynasty had diverse artistic features and were quite fascinating. Stable politics, prosperous economy, well-developed technology as well as cultural interchanges among various nationalities and open-minded, tolerated policies of the rulers all contributed to the prosperity of costume culture in Tang Dynasty. In particular, the easing social moral codes, liberated social ethos, and enhancement in women’s autonomy consciousness all together made women’s costumes present periodical uniqueness and became extremely distinguished and splendid compared to other dynasties. There were a variety of women’s costumes in Tang Dynasty, and they were mainly divided into two categories: formal dress and daily dress. Formal dress symbolized and implied conservative ritual system and inherited culture; it conveyed the meaning of legally-specified costumes, so it was not easy to alter its design. On the other hand, daily dress presented fashion trend and esthetic value; it often changed with social environment and possessed characteristics of epoch and variety. Women’s costumes in Tang Dynasty included robes of “Han costume” that inherited traditional formal dress as well as daily dress that was closely related to women’s daily life. In addition, there were various kinds of Ru skirts and trousers of “Hu costume”. Under long-term cultural interchange among diverse nationalities, women’s costumes were deeply affected by exotic cultures and generated colorful and exquisite “Tang costume” that integrated the styles of Hu and Han. The present study investigates women’s costumes in Tang Dynasty by using records, poetries and proses as research material to explore fashion and aesthetics of women’s costumes. From the angles of literature, culture and ancient records, poems about women’s costumes in Tang Dynasty are arranged and classified; ancient literature and cultural relics and images are also investigated and verified. We analyze the meaning and function of women’s costumes and ornaments in the records, poetries, and proses. In addition, the developments, backgrounds, types, identities and technology of women’s costumes are explored. We also probe into fashion trend of women’s costumes and aesthetic standards of the society and try to elucidate the charm of women’s costumes in society at that time.

博士
國立中興大學
歷史學系所
104
The glorious Tang Dynasty represents the height of culture and lasting influence over posterity. It lasted 290 years, from 618 to 907, a brilliant epoch in Chinese history after the Han Dynasty. China was unified at the time, its territory far-flung, with prosperous and well-developed politics, economy, and commerce; the society was a harmonious melting pot of various nationalities, and there was frequent contact with foreign cultures. As a result, people took leisurely activities seriously, from the noble class to the common people. Games of skill were popular, for they reflected the ease of living of a prosperous empire and demonstrated the cultural characteristics of a diverse, open, and equitable society. Some of these games of skill involved ball-playing, and they were competitive. One such game was called maqiu, or ball playing on horseback; the object was to drive the ball into a goal from horseback, much like present-day polo. It was a popular game with soldiers and common people, as well as in the imperial court. It was sportive and involved team work, and the participants needed not only strong bodies and equestrian and ball-playing skills, but also bravery, agility of the body and reflexes, and perseverance. It is interesting to note that during the Tang Dynasty, the game of maqiu reached unprecedented heights in popularity and skills, which have not been equaled ever since. The aim of this article is to inquire into the art of maqiu in everyday life as part of an in-depth understanding of the culture of the Tang Dynasty, including maqiu’s background, origin, and the course of its development; an examination of its implementation tools and rules; ballpark locations and functions; the role played by politics, economics, military affairs, and culture in the rise and fall of the game of maqiu; an analysis of the images of maqiu in poetry and literature as a reflection of society and mores; the relationship between maqiu and art in drawings, cave paintings, terracotta figures, stone etchings, utensils, and excavated objects; and finally, a testament of the popularity of maqiu and the important role it played in people’s lives in the Tang Dynasty, and of the golden period of maqiu that is the Tang Dynasty.

博士
玄奘大學
中國語文學系碩博士班
101
Poetry is the best literary tool of the emotional expression. One of the most important periods of the Chinese Poetics history is Tang Dynasty , it is not only a rich literary treasure but also allows us to understand the lives of the Chinese. There were many studies of Tang poetry articles in the past. In order to study the Tang poetry in different points of view, this paper pays attention to the festivals to show the connotation of the Tang poetry. The festivals, accumulated after a long time, are special days of every year or particular months. The Tang Dynasty is a critical period of development in festivals, it has presented various patterns about vivid features of activities. Festival activities are considered to be the real performances of the Tang Dynasty culture, and are also focused references to understand the life of the Tang Dynasty. However, many studies festive articles sometimes neglect to research, or to lose the true meaning of the festival subjective opinions. In this thesis, the paper is a combination of the poems of the Tang and festivals to understand the lives, customs, culture, and humanities ideas. About the festivals in the Tang Dynasty, Tang Han E works contained extremely detailed description. The paper arranges with time-series, not using the usual classification way of the Four Seasons, including sixteen major festivals. In addition to the introduction and conclusion, sixteen festivals are divided into sixteen chapters. First to confirm origins of this festival, and then independently analyzes every poem based on significance of the Tang Dynasty. This arrangement is not only coherent and clear but also can distinguish the differences between various festivals, so you can learn more about the real life of the Tang Dynasty.

碩士
國立中興大學
歷史學系所
99
Tang dynasty （Between 618 to 907 A.D.）was a strong and prosperous dynasty in the annals of Chinese history. It united both the north and south, its territory spread out afar, and the political, social, and economic developments thrived. The national ethno-fusion and cultural exchange contributed to the diversified, open and inclusive culture characteristics. The Tang dynasty is the essential time on the history of playing in china. With the thriving developments in politics, economy and trades, in the advent of all of these prosperities, higher up as to the level of imperial court officials and nobles, lower down to the commoners and vendors, there existed an emphasis and a sense of priority in pursuing leisure activities. It not only the tradtional games，but also develop many kinds of games. The thesis intends to delve into the Tang dynasty culture, especially the gambling culture in people’s daily life. First, it describes the background and origin of the activity and subsequent development in history senses. Second, it explores the relationship among the gamble and civilians, emperor and women and the purpose and significance hidden behind the gamble itself. Third, it restores the spectacular event and culture of the chess piece of Shupu and Chinese Backgammon, the rules of the two. The thesis apply the Tang poem and the literary sketches atonement the history of gambles, inquired into the gambling situation which disseminates in the society, as well as the gambling culture reflects Multi-dimensional society on energetic cultures in Tang Dynasty.Finally, this article proves that the activity has been popular in the Tang dynasty society.

碩士
國立中興大學
中國文學系所
95
Tang dynasty novellas are an interesting and inspiring literature. This thesis was motivated by reading Tang dynasty gratitude novellas. There are six chapters in the thesis. The first chapter is a preface, talking about the motivations, research area, and research methods. The second chapter shows about the original source of the “in return for” （報）and the difference meaning of gratitude between Chinese and foreign country. The third chapter states the background of gratitude story in the Tang novellas. It related to the social background and philosophy thought of the Tang dynasty. The forth chapter is about the model of gratitude novellas, it has five models: chivalrous man, celestial, ghost, fairy and animal. The fifth chapter is about the relation of giving and receiving in the Tang dynasty gratitude novellas, and clouding the rules of giving and gratitude. The sixth chapter analysis the text of Tang dynasty gratitude novellas, then we can find the process of gratitude and the mind of writer and the reader. The final chapter is conclusion, which concludes the whole thesis.

博士
東海大學
中國文學系
94
Research into Tang Dynasty Poetry about Amusement Activities Chen Cheng-ping Tunghai University Chinese Literature PhD Abstract The Tang Dynasty created the golden age of poetry which influenced us for thousands of years. The previous scholars took their efforts to research and provided us with plenty of aesthetic experience. This dissertation focuses on the amusement activities in the Tang poetry. “Amusement activities” satisfy people’s spiritual contents after they fulfill their physical daily requires. The Tang people appreciated the arts, watched the performances, and did outdoor activities. Plenty sorts of amusements are included in this research. The colorful and complex amusements are worthy of systematic study. This research aims at poetry related “amusement art” in the Tang dynasty. We discuss everything about it from the background, source, historical development to the social influence. The main texts applied in this dissertation are the Tang poetry. After collecting the works related and categorizing all the materials, the amusement activities of the Tang people are vividly presented. Although amusement activities are essential in our daily life, they are not emphasized at all. They not only help us to approach the Tang society, but also plays an important role in the human spiritual experience.

碩士
輔仁大學
織品服裝研究所
81
my special interest in Tang Dynasty's women's wear and my motivation for researching its applicability as a design re- source for today's fashion. One major aim is to research and analyse Tang culture and costume so as to identify various aspects of dress and culture characteristic of this period. I have done my utmost to gather information on the tradi- tional Tang clothing code for analysis, synthesis, comparison and has traced back to original sources. This is in addition to using biographical histories, ancient Tang books and records which constitute the first part. The contemporary background to Tang Dynasty ladies clothing, their style and characteristics provided a rare breadth to the research and discussion. In part One, I review Tang costume history in order to affirm the characteristics. It also will lead to deeper insights and ways to identify and explain specific phenomena of dress and how we as Chinese have consistantly thought and felt about dress. In part Two, I utilize insights and inspirations derived from the research undertaking in Part One and develop a collection of Tang apparel for the modern market. All the research and experi- ence of formal design has led me to the conclusion that the beautiful form and richness contained within ladies' Tang Dynasty clothing can truly develop the spirit, style and fea- tures of modern design and its formal spatial language. The characteristics and integration of the artistic spirit of Tang clothing can provide food for thought and innovative directions for modern clothes design.