Journal articles: 'The late Tang Dynasty'

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DeBlasi, Anthony. "Court and Region in Medieval China: The Case of Tang Bianzhou." T’oung Pao 102, no. 1-3 (October 3, 2016): 74–120. http://dx.doi.org/10.1163/15685322-10213p04.

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Although Bianzhou (modern Kaifeng) is well known as the imperial capital of the Northern Song dynasty, its history prior to the tenth century reveals much about the political fortunes of the Tang dynasty, especially after the An Lushan rebellion. A careful analysis of the backgrounds of the Military Commissioners appointed to govern the region indicates that following an initial period of instability, the Tang court was able to maintain control over this strategically vital transportation hub late into the ninth century and to repeatedly appoint commissioners who had passed the civil-service examinations. This experience helps explain the continuing optimism of Tang elites about the dynasty’s prospects and made Bianzhou itself an important example for the educated elite of why civil values were essential to good government and the survival of the Tang dynasty. Si Bianzhou (actuel Kaifeng) est bien connu comme capitale impériale des Song du Nord, son histoire avant le Xe siècle nous en apprend beaucoup sur le destin politique des Tang, particulièrement après la rébellion de An Lushan. L’analyse minutieuse du parcours des commissaires militaires successivement nommés à la tête de la région révèle qu’après une période initiale d’instabilité, la cour des Tang a été en mesure jusque tard dans le IXe siècle de maintenir son contrôle sur ce qui était un nœud stratégique de communications et d’y poster l’un après l’autre des commissaires passés par la voie des examens civils. L’expérience contribue à expliquer l’optimisme persistant des élites des Tang concernant l’avenir du régime, le cas de Bianzhou étant à leurs yeux un exemple important des raisons pour lesquelles les valeurs civiles demeuraient essentielles à la qualité du gouvernement et à la survie de la dynastie.

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Wang, Qi Ming. "Evolution of Arm Accessories in the Tang Dynasty." Advanced Materials Research 175-176 (January 2011): 972–75. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.972.

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There are many different forms of arm accessories in the Tang Dynasty. Their development is due to different times, cultures, religions, and nearby ethnic minorities. Accessories and clothing are closely related, thus clothes in the Tang Dynasty also influence the changes of arm accessories. There are three continuous periods of development: early, middle, and late, each with its own distinctive characteristics. The different forms of the arm accessories will be analyzed on the basis of the social and cultural background during the Tang Dynasty. The analysis will help to gain a better understanding of modern accessories.

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Miller, Harry. "Opposition to the Donglin Faction in the Late Ming Dynasty: The Case of Tang Binyin." Late Imperial China 27, no. 2 (2006): 38–66. http://dx.doi.org/10.1353/late.2007.0004.

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Yim, Won Bin. "A study on Zen Poetry's aspect of the Late Tang Dynasty." Comparative Study of World Literature 62 (March 30, 2018): 97–128. http://dx.doi.org/10.33078/cowol62.05.

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Bossler, Beverly. "Vocabularies of Pleasure: Categorizing Female Entertainers in the Late Tang Dynasty." Harvard Journal of Asiatic Studies 72, no. 1 (2012): 71–99. http://dx.doi.org/10.1353/jas.2012.0013.

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Zhi’an, Li. "Northern and Southern Dynasties and the Course of History Since Middle Antiquity." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 88–119. http://dx.doi.org/10.1163/23521341-01010006.

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Abstract Two periods in Chinese history can be characterized as constituting a North/South polarization: the period commonly known as the Northern and Southern Dynasties (420ad-589ad), and the Southern Song, Jin, and Yuan Dynasties (1115ad-1368ad). Both of these periods exhibited sharp contrasts between the North and South that can be seen in their respective political and economic institutions. The North/South parity in both of these periods had a great impact on the course of Chinese history. Both before and after the much studied Tang-Song transformation, Chinese history evolved as a conjoining of previously separate North/South institutions. Once the country achieved unification under the Sui Dynasty and early part of the Tang, the trend was to carry on the Northern institutions in the form of political and economic administration. Later in the Tang Dynasty the Northern institutions and practices gave way to the increasing implementation of the Southern institutions across the country. During the Song Dynasty, the Song court initially inherited this “Southernization” trend while the minority kingdoms of Liao, Xia, Jin, and Yuan primarily inherited the Northern practices. After coexisting for a time, the Yuan Dynasty and early Ming saw the eventual dominance of the Southern institutions, while in middle to late Ming the Northern practices reasserted themselves and became the norm. An analysis of these two periods of North/South disparity will demonstrate how these differences came about and how this constant divergence-convergence influenced Chinese history.

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Wang, Yanning. "Qing Women's Poetry on Roaming as a Female Transcendent." NAN NÜ 12, no. 1 (2010): 65–102. http://dx.doi.org/10.1163/156852610x518200.

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AbstractYouxian shi (poetry on roaming as a transcendent) has long been a conventional poetic genre in Chinese literature. It has been the common conception that youxian poetry was most popular from the Wei dynasty (220-265) through the Tang dynasty (618-907), and up until now, scholarly studies on the genre seemed to focus exclusively on Tang and pre-Tang periods. This gives the impression that after the Tang nothing of interest was written in this particular genre. Consequently, very little scholarly attention has been given to the youxian poems composed in post-Tang periods. This article examines youxian poems by Qing (1644-1911) women, specifically those poems entitled Nü youxian (roaming as a female transcendent). With the increasing consciousness of "self," the rise of groups of women writers, and the popularity of women's culture in late imperial China, youxian poems provided a unique literary space for women's poetic and autobiographical voices, certainly deserving more scholarly attention. I argue that by presenting female transcendents or women pursuing transcendence at the center of a poem and re-inscribing the traditional literary images, the poets created a stronger female subjectivity that reflected women's desires in their intellectual and spiritual lives. I also propose that nü youxian was a new subgenre of youxian poetry, emerging only in the context of the efflorescence of women's poetry.

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TROMBERT, ERIC. "The Demise of Silk on the Silk Road: Textiles as Money at Dunhuang from the Late Eighth Century to the Thirteenth Century." Journal of the Royal Asiatic Society of Great Britain & Ireland 23, no. 2 (April 2013): 327–47. http://dx.doi.org/10.1017/s1356186313000229.

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The extensive documentary evidence collected and analysed in the previous studies in this issue suggest a preliminary conclusion that can be summarised as follows: from the collapse of the Han dynasty to the glorious days of the Tang dynasty, the peoples living in the Western Regions along the Silk Road used multiple co-existing forms of money – grain, cloth and coins – with one of these three items becoming predominant according to changes in political and/or economic circumstances. However, this multicurrency system did not outlive the political, economic and fiscal upheavals that shook the Tang empire from the mid-eighth century onwards. As far as the materials from Turfan and Dunhuang are concerned, the latest evidence for this monetary system is provided by a manuscript found at Dunhuang (P 3348 V°), already quoted in Arakawa Masaharu's article, which permits us to see how such a complex monetary system worked in real life once the silk shipped by the Tang government arrived in the Western Regions. In particular, a subsidiary account (P 3348 V°2 B) inscribed in this accounting report reveals how a local official called Li Jingyu 李景玉, who was vice-commissioner in the army stationed in that region, received his salary for the first semester of the year 745 ce.

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Chen, Song. "THE STATE, THE GENTRY, AND LOCAL INSTITUTIONS: THE SONG DYNASTY AND LONG-TERM TRENDS FROM TANG TO QING." Journal of Chinese History 1, no. 1 (January 2017): 141–82. http://dx.doi.org/10.1017/jch.2016.30.

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Historians have long aspired to see beyond the rise and fall of dynasties to the longue durée and the major changes over time in Chinese society. The five empirically rich and theoretically sophisticated books discussed in this essay all share this goal. While they make distinct contributions, they have in common close attention to the relationships between the state, the elite, and local institutions between the late Tang and Qing periods. Reading them together encourages rethinking the state-and-society issues that historians have been debating for a generation. In this essay, after a brief summary of each book's major contributions, I suggest ways they help us conceptualize the long-term processes of continuity and change from the late Tang to the Qing.

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Tang, Qiaomei. "From Talented Poet to Jealous Wife: Reimagining Su Hui in Late Tang Literary Culture." NAN Nü 22, no. 1 (June 8, 2020): 1–35. http://dx.doi.org/10.1163/15685268-00221p01.

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Abstract Su Hui was a late fourth century Chinese woman who is famed for her creation of brocade palindromic poems. Due to an account of her life story, attributed to the female emperor Wu Zetian, that highlighted her jealous disposition, Su Hui is remembered today primarily as a talented but jealous wife, which is in contrast with how she was viewed in the period prior to the Wu version. Tracing the genealogy of Su Hui’s narrative in pre-Tang and Tang literary and visual materials, this article demonstrates that the definitive version of Su Hui’s story is misattributed to Wu Zetian and, more importantly, that the image of this well-known figure of early medieval China underwent a transformation that reflects important aspects of Late Tang literary culture. In ‘boudoir lament’ poetry of the Southern Dynasties period, Su Hui is the stock image of a melancholy wife longing for her absent husband. In ‘frontier’ poetry of the Tang dynasty, she is a worrying wife concerned with her military husband fighting on the borderlands. It is in a Late Tang prose account misattributed to Wu Zetian that we finally see her as a jealous woman competing for her husband’s affections. The transformation of Su Hui’s image across three major literary genres over a period of half a millennium offers readers a window into the literary and cultural changes that took place in medieval China.

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Zhao, Yiming, and Yeli Shi. "The Influence of Foreign Trade Activities on Chinese Loan Words from the Historical Perspective." Theory and Practice in Language Studies 7, no. 8 (August 1, 2017): 690. http://dx.doi.org/10.17507/tpls.0708.12.

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In the process of thousands of years’ dynasties change and social development, it is not difficult to find the sustained impact of foreign trade on Chinese society. Trade has output both the goods and culture of China. At the same time it also brought in the material and non-material civilization from other places of the world. As a product of foreign culture, loan words are not only a microcosm of the outcome of trade activities in specific periods, but also enrichment to Chinese language. This article intends to elaborate the influence of trade activities on Chinese loan words with the development of history as the pointcut, focusing on the typical periods of the development of foreign trade in China, including the Han Dynasty, the Tang Dynasty, the late Qing Dynasty and the Republic of China.

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Lim, Gyu Wan. "The Study of Tang Dynasty Poetry during the Late Joseon Kingdom through 《TANG SHI SUN》 Written by the Unknown." Journal of Society for Humanities Studies in East Asia 52 (September 30, 2020): 67–93. http://dx.doi.org/10.52639/jeah.2020.09.52.67.

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김창경. "The Beauty of Art of the Seven quatrain' Historical Poems in Late Tang Dynasty." Journal of North-east Asian Cultures 1, no. 23 (June 2010): 331–46. http://dx.doi.org/10.17949/jneac.1.23.201006.016.

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Sung Seo. "The Relationship between the Regulated Poems with Seven Syllables in the Late Tang Dynasty and the Poems of Silla Dynasty." Journal of Chinese Language and Literature ll, no. 37 (June 2008): 49–72. http://dx.doi.org/10.26586/chls.2008..37.003.

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15

Zheng, Wei. "Phonological Traits of Hangzhou Dialect from the Perspective of Comparative Phonology." Bulletin of Chinese Linguistics 5, no. 1 (January 24, 2011): 145–63. http://dx.doi.org/10.1163/2405478x-90000077.

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From the perspective of Chinese historical phonology, we observe that Hangzhou dialect in Zhejiang Province exemplifies the dualism of innovation and conservatism in terms of phonological evolution. Using the comparative method, three strata are recognized: 1. the conservative layer from Qieyun which also appears in modern Wu dialects; 2. the layer of Mandarin from the period of the late Tang Dynasty to Northern Song, which composes the main body of Hangzhou phonology; and 3. the innovative layer of post-Qieyun times both in Hangzhou and other Wu dialects.

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Mo, Lifeng. "The abridgement of famous Tang Dynasty poetry by later generations." Frontiers of Literary Studies in China 3, no. 3 (August 5, 2009): 455–78. http://dx.doi.org/10.1007/s11702-009-0018-5.

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So Ju Young. "Study on the relationship between the Articles and Politics of the Late - Tang Dynasty — the parallel prose of Li Shangyin and the essays which stabbed the world by three writers in Late - Tang Dynasty." Korean Cultural Studies ll, no. 73 (November 2016): 141–73. http://dx.doi.org/10.17948/kcs.2016..73.141.

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Feng, Shan Xin, Zheng Sun, and Yu Rong Wang. "Innovative Production of Lead-Free Wood Leafhopper under High Temperature Firing Environment." Materials Science Forum 980 (March 2020): 79–87. http://dx.doi.org/10.4028/www.scientific.net/msf.980.79.

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The lead-free wood leafhopper is the iconic traditional ceramic art of the Jizhou kiln in the Song Dynasty of China. The traditional lead-free wood leafhopper is usually made of black glaze. The glaze is placed on the mulberry leaf and fired at a high temperature of about 1230 °C-1260 °C. And the veins are clear. Jizhou kiln was founded in the late Tang Dynasty. It flourished in the Five Dynasties and Northern Song Dynasty. It was the most prosperous in the Southern Song Dynasty. It began to decline in the late Yuan Dynasty and then stopped for more than 700 years. However, its unique artistic value has gradually be attracted the attention by the world. And it recovered in 1985 at last after unremitting efforts. The re-burning of the lead-free wood leafhopper has successfully opened the ceramic market of the lead-free wood leafhopper and made it occupy a certain position in the ceramic market. The price of lead-free wood leafhopper has remained high, and therefore ceramic producers are waiting for opportunities to produce on a large scale in order to achieve huge economic benefits. However, due to the great difficulty in the firing process of the lead-free wood leafhopper, the market has a phenomenon of low yield, high price, low consumer desire, and the use of chemical materials to fire products. The subject analyzed and solved these phenomena through a large number of experiments. Lead-free in this subject is a relatively broad definition, especially referring to the new type of lead-free wood leafhopper without contain heavy metals.

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설순남. "A Study on the relation between Shi(詩) and Ci(詞) in the late Tang(唐) Dynasty and the early Song(宋) Dynasty." CHINESE LITERATURE 67, no. ll (May 2011): 51–76. http://dx.doi.org/10.21192/scll.67..201105.003.

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Choi, Jung-Bum. "A reassessment of so-called Hwangyongsa-style metal belt." Yeongnam Archaeological Society, no. 82 (September 30, 2018): 125–53. http://dx.doi.org/10.47417/yar.2018.82.125.

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Discoveries of Hwangnyongsa-style metal belts, usually brackets and belts as well as round and edge ornaments, excavated from the lower part of the pillar built in the center of this wooden pagoda in Gyeongju led the existence of this site to become known. Subsequent excavations have intermittently targeted local burial tombs but few cases have so far been found; it is nevertheless important to carefully consider the appearance, development, and extinction of these tombs as occurrences are only known from a limited time period between the late sixth century and early seventh century. One characteristic feature of Hwangnyongsa-style metal belts is that the ornament and the pattern are raised together; this means that when a belt is worn it buckled by inserting a bracket needle into a round ornament. This is different from the inverted leap-like shape of a metal belt and somewhat similar to the way that these items are depicted as being buckled in Chinese burial mound and mural figures. Most of the patterns seen on these metal belts are also shared with decorative designs seen on reliefs and murals from North dynasty and Sui dynasty ancient tombs; on this basis, these artifacts can be viewed as Chinese-influenced Silla metal belts. Hwangnyongsa-style and Tang-style metal belts have also not been differentiated from one another in conventional interpretations and it has been considered reasonable to assume that the method of ornament making innovatively changed from the use of patterns to none. Hwangnyongsa-style metal belts can therefore be included within the same category as their Tang-style counterparts, as part of the evolution of these items in China. It is known that the Silla dynasty formed political ties with the Chinese dynasty at some point during the middle of the sixth century via the tributary appointment system. This led to a transformation of cultures and products inside China to fit the situation within the Silla dynasty which was then utilized for regional control; the Silla dynasty ruled rural areas by providing Oewie to local forces newly incorporated into the area and by including numerous local owners into the Gyeongwie system subsequent to unification. The time between the mid-sixth century and the early seventh century when the Oewie system was functioning within the Silla dynasty therefore functioned as a tool for regional control and is consistent with the timing of the appearance of Hwangnyongsa-style metal belts in rural areas and changes in their form.

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Fontana, Luciane, Mingjie Sun, Xiaozhong Huang, and Lixiong Xiang. "The impact of climate change and human activity on the ecological status of Bosten Lake, NW China, revealed by a diatom record for the last 2000 years." Holocene 29, no. 12 (July 31, 2019): 1871–84. http://dx.doi.org/10.1177/0959683619865586.

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We present a 2000-year high-resolution diatom record from Bosten Lake (Yanqi Basin, Xinjiang), which is the largest inland freshwater lake in China. Our aims were to investigate the influence of climate change and human activity on its aquatic ecology during the late Holocene. During AD 280–480, a low water level and high salinity occurred, based on the dominance of epipelic and brackish diatoms. In addition, the diatom stratigraphy, combined with records of mean grain size and carbonate content, suggests that the lake experienced a high level of eolian input from the surrounding dunes. We hypothesize that during this interval, Loulan Kingdom, an important city of the Han Dynasty, located downstream of Bosten Lake, was abandoned due to the increasing scarcity of water resources and related harsh environmental conditions, including stronger eolian activity, which were the consequences of climate change. The dominance of meso-eutrophic small fragilarioid diatoms coincides with warm and arid intervals which also correspond to intensified human activity. These intervals correspond to the development of the Tang Dynasty (from ~AD 600), the ‘Medieval Warm Period’ (AD 1000–1200), and the last ~200 years. A shift from meso-eutrophic/benthic diatoms to oligotrophic/planktonic diatoms occurred during an interval of enhanced precipitation throughout the humid ‘Little Ice Age’ (AD 1600–1800). A return to markedly eutrophic conditions and a decreasing lake level occurred after the ‘Little Ice Age’, reflecting the more arid regional environment of the last 200 years. The high variability of the proxies suggests that both climate change and human activity were the major drivers of the ecological status of Bosten Lake during the late Holocene. We suggest that both the continuous increase of human activity and ongoing global warming will cause the major eutrophication or salinization of the freshwater lakes in the arid zone of northwest China.

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Ryu, Jun Hyoung. "Aspects of the Imperial Succession of the Late Period Tang Dynasty and the Crowning of Emperor Xuan." CHUNGGUKSA YONGU (The Journal of Chinese Historical Researches) 123 (December 31, 2019): 107–49. http://dx.doi.org/10.24161/chr.123.107.

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Shang, Yongliang. "Landscape architecture hutian and the variations in the literati ethos in the middle & late Tang Dynasty." Frontiers of Literary Studies in China 2, no. 1 (March 2008): 117–33. http://dx.doi.org/10.1007/s11702-008-0005-2.

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Li, Yu. "Training Scholars not Politicians." Modern Asian Studies 37, no. 4 (October 2003): 919–54. http://dx.doi.org/10.1017/s0026749x03004086.

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Conventional wisdom dictates that Chinese literati in the Qing dynasty (1644–1912), like their forerunners in previous dynasties, were politically active. Chinese Marxist historians tend to portray the Qing literati as politicians rather than scholars. Tang Zhiju, a China-based historian and the author of a book with an explicitly political title, Jindai Jingxue yu Zhengzhi (Modern Classical Learning and Politics), argues that the forefather of the Qing Evidential Research School, Gu Yanwu (1613–1682), used classical learning to maintain the Han people's national consciousness, and that the founders of the Gongyang New Text School, Zhuang Cunyu (1719–1788) and Liu Fenglu (1776–1829), applied the ‘sublime words with deep meaning’ in the Gongyang Chunqiu (Gongyang Commentary on Spring and Autumn Annals) to justify the Manchu's tianming (mandate of heaven). In late Qing, Tang contends, the New Text scholars Kang Youwei (1858–1927) and Liang Qichao (1873–1929) studied the classics with the intention of political reform, while the Old Text scholar Zhang Taiyan (1869–1936) developed the tradition in Confucianism of jingshi (managing the world) for anti-Manchu revolution.

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Handlin Smith, Joanna. "Social Hierarchy and Merchant Philanthropy as Perceived in Several Late-Ming and Early-Qing Texts." Journal of the Economic and Social History of the Orient 41, no. 3 (1998): 417–51. http://dx.doi.org/10.1163/156852098323213156.

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AbstractFollowing the fall of the Ming dynasty in 1644, literati questioned the social hierarchy, acknowledged merchants as philanthropists, and revised their understanding of gifts and donations. Using several texts (by Tang Zhen and Wei Xi, in particular), this paper proposes that early-Qing literati reconceptualized some of the goals of philanthropy. Where late-Ming philanthropy aimed (among other things) to spread moral instruction and affirm the superior status of scholar-officials, the early-Qing Wei Xi condoned merchant use of philanthropy to build social connections. Thus, the high moralizing of late-Ming philanthropy gave way to perceptions that the recipients of aid were directly obligated to their benefactors. The weakening of the moral purpose of philanthropy and the intensification of donor-beneficiary relations sparked a trend to routinize philanthropy (through forced donations and quasi-taxation), thereby diminishing the room for and significance of individual initiative.

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Mou (牟發松), Fasong, and William Green. "A Discussion of Several Issues Concerning the “Tang-Song Transition”." Journal of Chinese Humanities 6, no. 2-3 (May 11, 2021): 192–212. http://dx.doi.org/10.1163/23521341-12340097.

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Abstract Naitō Konan’s hypothesis on the “Tang-Song transition” was first expressed in lecture notes from his 1909 class on modern Chinese history at Kyoto University and, then, expounded in subsequent works such as “A General View of the Tang and Song Dynasties” and “Modern Chinese History.” The theory systematically outlines that an evolutionary medieval to modern transition occurred in Chinese society during the period between the Tang and the Song dynasties, focusing in particular on the areas of politics/government, the economy, and culture. Political change is regarded as the core metric, demonstrated in concentrated form by the government’s transformation from an aristocratic to a monarchical autocratic system alongside a rise in the status and position of the common people. The “Tang-Song transition theory,” underpinned theoretically by a cultural-historical perspective, advocates for a periodization of Chinese history based on the stages and characteristics of China’s cultural development, which is also attributed to cultural shifts, downward to the commoner class from a culture monopolized by the aristocracy during the period between the Tang and Song, with concomitant changes in society. For over a century since it was first proposed, the “Tang-Song transition theory” has had far-reaching influence in Chinese, Japanese, and Western academic circles, continuing to be lively and vigorous even now. We might be able to find the cause in its originality and liberality, which leave significant room for later thinkers’ continued adherence and development or criticism and falsification and continue to inspire new questions. Naitō’s proposal was also intimately connected to his observations of China’s circumstances in the late Qing dynasty and early Republican period, which also provided a “sample of the era” regarding realistic approaches to historical studies.

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Liu, Ni. "Discuss the Conflict between Rritual and Law of the Tang Dynasty and the Later Tang dynasty ; from the conflict between ritual and order caused by Funeral." CHUNGGUKSA YONGU (The Journal of Chinese Historical Researches) 120 (June 30, 2019): 277–92. http://dx.doi.org/10.24161/chr.120.277.

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Agnew, Neville, Martha Demas, and Wang Xudong. "The Enduring Collaboration of the Getty Conservation Institute and the Dunhuang Academy in Conservation and Management at the Buddhist Cave Temples of Dunhuang, China." Public Historian 34, no. 3 (2012): 7–20. http://dx.doi.org/10.1525/tph.2012.34.3.7.

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Abstract The World Heritage site of the Mogao Grottoes near Dunhuang is China's preeminent ancient Buddhist site on the Silk Road. It flourished between the fourth and the fourteenth centuries and comprises some 492 cave temples with wall paintings and sculpture. The Getty Conservation Institute has been working with the Dunhuang Academy since 1989 on site conservation and management using guidelines, the Principles for the Conservation of Heritage Sites in China, that were developed at the national level. Elements of the successful twenty-year collaboration are discussed in the context of the conservation and management challenges faced at the site and the projects developed to address them, including conservation of the wall paintings in Cave 85, a late Tang dynasty cave with extensive deterioration induced by salts derived from the underlying rock; and visitors to the site, who have increased rapidly since the site was opened in 1979.

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Sun, Zhu. "Research on the Rehabilitation of the Ancient City Wall of the Wuchang Uprising Gate." Applied Mechanics and Materials 166-169 (May 2012): 1526–29. http://dx.doi.org/10.4028/www.scientific.net/amm.166-169.1526.

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To commemorate the 100th anniversary of the Xinghai Revolution, the government of Wuchang district in Wuhan City intends to rehabilitate rain-wind corridor, feudal pavilion and the city walls. After access to historical data, site survey, mapping, photographing and measuring, the rehabilitating engineering program of rain-wind corridor, feudal pavilion and the city walls of the Wuchang Uprising Gate is achieved. In the fourth year of Hongwu (1371), Ming dynasty, Zhou Dexing, the duke of Jiangxia, built Wuchang city on the basis of Yingzhou city of Tang dynasty. Wuchang city has large scale. In Ming and Qing dynasty, it was the legacy of county, town, city and province. Its diameter from the east to the west was of 2.5 km, with 3 km from the north to south. The thickness of wall foundation is 22.44 m, with top thickness 17.82 m. Nine gates were designed for the ancient city. The Uprising gate, one of the nine gate of the Wuchang ancient city, was opened to the south and also the busiest gate for entering the city. New Army Engineering Battalion of Hubei took the lead and fired the first shot. And then they occupied Zhonghe Gate and Chu Wangtai to welcome the South Lake artillery, Ma team and other revolutionaries.

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이유진. "Buddhist Priests’ Seeking Truth in Tang China during Late Silla to Early Goryeo Dynasty and the Trade of Korea and China." Journal of Seokdang Academy ll, no. 46 (March 2010): 213–43. http://dx.doi.org/10.17842/jsa.2010..46.213.

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Huang, Xiao-zhong, Si-si Liu, Guang-hui Dong, Ming-rui Qiang, Zhi-juan Bai, Yan Zhao, and Fa-hu Chen. "Early human impacts on vegetation on the northeastern Qinghai-Tibetan Plateau during the middle to late Holocene." Progress in Physical Geography: Earth and Environment 41, no. 3 (April 19, 2017): 286–301. http://dx.doi.org/10.1177/0309133317703035.

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The ecosystems of the Qinghai-Tibetan Plateau are regarded as being primarily regulated by climate because of the harsh environment of the region and the resulting sparse human population. Recent studies have revealed that Neolithic farmers and nomads extensively settled in the northeastern Qinghai-Tibetan Plateau from 5.2 ka (ka = cal ka BP); however, it is unclear how and to what extent human activity has affected its vegetation. Here we combine the results of the pollen analysis of a sediment core from Genggahai Lake, a shallow lake in Gonghe Basin on the northeastern Qinghai-Tibetan Plateau, with archaeological evidence and use them to assess the extent and nature of human impacts on the regional vegetation during the middle and late Holocene. The pollen record indicates that Stellera, an indicator of the extent of grazing-induced grassland degradation, first appeared at 4.7 ka, expanded during 3.6–3.0 ka, and finally increased significantly after 1.6 ka. In support of this finding, archaeological data indicate that the agro-pastoral Majiayao people arrived at ∼5 ka and groups of Kayue people, who practiced pastoralism, intensively colonized the Gonghe Basin and nearby Qinghai Lake basin during 3.6–3.0 ka. After ∼1.6 ka, from the Tang Dynasty onwards, human settlement and grazing activity intensified on the northeastern Qinghai-Tibetan Plateau, and this is in accord with the observed high percentages of Stellera in the pollen record. Based on comparison with other records, we conclude that the sediments of Genggahai Lake provide a record of anthropogenic impacts on vegetation, and that human activity may have contributed to regional forest decline during the middle Holocene, and to grassland degradation in the late Holocene. Grassland degradation caused by human activity may be an indicator of the start of the Anthropocene and potentially may have contributed to global climate change via increased dust emission to the atmosphere.

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Notis, Michael R., and DongNing Wang. "Ancient Chinese Bronze Casting Methods: The Dilemma of Choice." MRS Advances 2, no. 33-34 (2017): 1743–68. http://dx.doi.org/10.1557/adv.2017.298.

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AbstractThe history of the manufacture of the magnificent bronze castings produced in ancient China has been reinterpreted a number of times during the past hundred years or so. These bronzes were first believed to be fabricated by lost wax (cire perdue) casting, but this gave way to a belief that piece mold casting was the dominant, if not the sole method of manufacture from the Shang (1700-1100 BCE) until possibly as late as the Tang dynasty (618-907 CE). This has been reinforced by the finding, a number of years ago, of the Houma piece mold foundry, as well a number of more recent similar finds. However, this stance was challenged by the discovery of openwork bronze objects as early as in the 1920s, and more strongly challenged in the late 1970s by finds of intricately cast interwoven openwork bronze objects at the Tomb of the Marquis of Yi, dated to the Warring States Period (475-221 BCE). Since then many other similar bronze objects have been found. Questions exist concerning the very existence of the lost-wax process as early as the Spring and Autumn Period (771 to 476 BCE), and was it independently developed in China, or was it introduced from the outside.

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Seong Ho, Jun. "Monetary authority independence and stability in medieval Korea: the Koryŏ monetary system through four centuries of East Asian transformations, 918-1392." Financial History Review 21, no. 3 (December 2014): 259–80. http://dx.doi.org/10.1017/s0968565014000213.

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This article surveys the monetary history of Koryŏ from the eleventh to the thirteenth century. During the first century of the dynasty, Koryŏ was at war with the Liao, prohibited trade with the enemy and pursued a policy of protecting its metal reserves. During the ban on metallic coins, rice and cloth served as commodity monies, ensuring price stability in a phase of sustained growth of the rural economy. A second phase began after the victory over the Liao in 1018. Backed by military strength, the government issued iron, bronze and silver currencies to facilitate international trade. The Koryŏ ‘silver vase’ currency, which circulated for three centuries, partly bridges the ‘black hole’ in East Asian monetary history from the Late Tang to the Ming period. The intrinsic value of the metallic currencies in conjunction with state issuance provided monetary stability. In turn monetary instability characterised the late Koryŏ, when the country came under the influence of the Mongol Yuan. The destabilising effect brought about by the introduction of Yuan paper money demonetarised the economy. By framing monetary history within a wider perspective of struggles for sovereignty and political hegemony, the article allows a better understanding of domestic and regional dynamics in East Asia.

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Hsieh, Ming-Liang. "On ceramic Dao Guan Hu (Bottom-filled Ewer)." Korean Journal of Art History 310 (June 30, 2021): 77–99. http://dx.doi.org/10.31065/kjah.310.202106.003.

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The so-called Dao Guan Hu (bottom-filled ewer), also referred to as Dao Liu Hu (reverse-flow ewer), and Dao Zhu Hu (reverse-filled ewer), is a type of pouring vessel designed with Stevin’s Law, a formula in physics which employs a communicating tube to balance out the equilibrium of the liquid levels via a vacuum lock. The structure has a small hole at the bottom of a ewer, a jar, or a trompe-l'œil figure connected to a hollow tube inside the vessel. The liquid will not leak out when turning the vessel upright after it is filled. The current evidence attests that China started producing such wares in the ninth century during the late Tang dynasty. The production continued throughout the Song, Liao, Jin, Ming, and Qing dynasties, and the products were traded to Europe as export ceramics in the seventeenth century. They were also found on the Korean peninsula as Goryeo celadon in the twelfth century and in addition as Buncheong ware during the Joseon dynasty in the fifteenth century. The blue and white teapots with overglaze decoration retrieved from a shipwreck assemblage near Hội An in Vietnam also testify the production of this type of vessels with the same structure in Vietnam in the fifteenth and early sixteenth centuries. In the early eighteenth century, the Meissen porcelain manufactory in Germany copied peach-shaped white porcelain pots with overglaze polychrome enamels from imported Chinese bottom-filled prototypes. Dutch potters also decorated imported white porcelain Dao Guan Hu from China with overglaze polychrome enamels.

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양은선. "The verse in response to Tang dynasty poetry by Park Taesoon in The Late Joseon dynasty ― focused on a verse in response to Dufu(杜甫) and Lishangyin(李商隱)." JOURNAL OF CHINESE STUDIES ll, no. 34 (November 2011): 117–47. http://dx.doi.org/10.26585/chlab.2011..34.006.

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Stevenson, Mark. "Sound, Space and Moral Soundscapes in Ruyijun zhuan and Chipozi zhuan." NAN NÜ 12, no. 2 (2010): 255–310. http://dx.doi.org/10.1163/156852610x545868.

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AbstractThis paper employs methods from phenomenology, anthropology and literary criticism to theorise the deployment of sound in two early works of erotic fiction from sixteenth-century China: Ruyijun zhuan ([The tale of ] The Lord of Perfect Satisfaction) and Chipozi zhuan (A tale of an infatuated woman). After assessing the significance of the two novels in relation to problems of gender ideology in the period, as well as the treatment of sound, noisiness and gender in two Tang dynasty works, the paper demonstrates how almost all occurrences of non-verbal or involuntary sounds in the novels are attached to the moral positioning of their women protagonists in relation to gender norms. While not performing a full content analysis of the novels' soundscapes, moral or otherwise, a select number of examples are used to illustrate how a focus on sound, as a sign of both external moral threat and the inner person, adds to our understanding of erotic fiction from the late Ming (1520-1644). While they employ aurality in radically different ways, the two novels show how aural events share a similar function in governing women's sexuality.

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Ma, Xixian, Wenjun Yang, Yang Gao, Yuwen Pan, Yan Lu, Hao Chen, Dongsheng Lu, and Shuhua Xu. "Genetic Origins and Sex-Biased Admixture of the Huis." Molecular Biology and Evolution 38, no. 9 (May 22, 2021): 3804–19. http://dx.doi.org/10.1093/molbev/msab158.

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Abstract The Hui people are unique among Chinese ethnic minorities in that they speak the same language as Han Chinese (HAN) but practice Islam. However, as the second-largest minority group in China numbering well over 10 million, the Huis are under-represented in both global and regional genomic studies. Here, we present the first whole-genome sequencing effort of 234 Hui individuals (NXH) aged over 60 who have been living in Ningxia, where the Huis are mostly concentrated. NXH are genetically more similar to East Asian than to any other global populations. In particular, the genetic differentiation between NXH and HAN (FST = 0.0015) is only slightly larger than that between northern and southern HAN (FST = 0.0010), largely attributed to the western ancestry in NXH (∼10%). Highly differentiated functional variants between NXH and HAN were identified in genes associated with skin pigmentation (e.g., SLC24A5), facial morphology (e.g., EDAR), and lipid metabolism (e.g., ABCG8). The Huis are also distinct from other Muslim groups such as the Uyghurs (FST = 0.0187), especially, NXH derived much less western ancestry (∼10%) compared with the Uyghurs (∼50%). Modeling admixture history indicated that NXH experienced an episode of two-wave admixture. An ancient admixture occurred ∼1,025 years ago, reflecting the intensive west–east contacts during the late Tang Dynasty, and the Five Dynasties and Ten Kingdoms period. A recent admixture occurred ∼500 years ago, corresponding to the Ming Dynasty. Notably, we identified considerable sex-biased admixture, that is, excess of western males and eastern females contributing to the NXH gene pool. The origins and the genomic diversity of the Hui people imply the complex history of contacts between western and eastern Eurasians.

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Mazanec, Thomas J. "The Medieval Chinese Gāthā and Its Relationship to Poetry." T’oung Pao 103, no. 1-3 (August 28, 2017): 94–154. http://dx.doi.org/10.1163/15685322-10313p03.

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This paper investigates the shifting definitions of the term gāthā (Ch. ji) over an 800-year period, from the earliest sūtra translations into Chinese until the mid-tenth century. Although the term originally referred to the verse sections of scriptures, gāthās soon began to circulate separately, used in ritual, contemplative, and pedagogical practices. By the late sixth century, it began to mean something like “Buddhist verse.” Over the course of the Tang, gāthās came to take on the formal features of poetry, eventually becoming all but indistinguishable from elite verse. However, the word gāthā was always seen as something inferior to real poetry, and, by the late Tang, we find poet-monks belittling other monks’ didactic verses so as to distinguish their own work and avoid the taint of the word gāthā. Cet article explore l’évolution du sens du terme gāthā (ch. ji) sur une période s’étendant sur plus de huit cent ans, depuis les premières traductions des sūtra en chinois jusqu’au milieu du dixième siècle. Bien que ce terme désignât à l’origine les parties rimées des textes sacrés bouddhiques, les gāthās très tôt commencèrent à circuler indépendamment et à être employées dans les pratiques rituelles, contemplatives et pédagogiques. Vers la fin du sixième siècle, il devint synonyme de « poésie bouddhique ». Au cours de la dynastie des Tang, les gāthās adoptèrent les règles formelles de la poésie, si bien qu’ils devinrent quasiment identiques aux autres formes d’expression poétique des élites. Le mot gāthā cependant continua à évoquer un style inférieur à celui de la « vraie » poésie, et à la fin des Tang des moines-poètes moquèrent les vers didactiques composés par d’autres moines dans le but de distinguer leur propres compositions et de se démarquer des connotations peu flatteuses du terme gāthā.

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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (December 22, 2016): 163–77. http://dx.doi.org/10.4312/ah.10.2.163-177.

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Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.

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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (December 22, 2016): 163–77. http://dx.doi.org/10.4312/ars.10.2.163-177.

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Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.

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Hutchinson, Ben. "The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric." Comparative Critical Studies 17, no. 2 (June 2020): 303–17. http://dx.doi.org/10.3366/ccs.2020.0364.

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The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

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Du, Shuhuan, Rong Xiang, Zuosheng Yang, Zhigang Guo, Yoshiki Saito, and Dejiang Fan. "Late-Holocene high-frequency East Asia Winter Monsoon variability inferred from the environmentally sensitive grain size component in the distal shelf mud area, East China Sea." Holocene 29, no. 1 (November 28, 2018): 3–16. http://dx.doi.org/10.1177/0959683618814981.

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The B2 (B2G) and I4 sediment cores recovered from the centre of the distal mud area of the East China Sea (ECS) were analysed for grain size distribution. Proxies for environmentally sensitive grain size components (ESGSC) retrieved from the composite B2 core, namely, variations in the volumetric content and mean grain size of specific grain size fractions, reveal a detailed history of the East Asia Winter Monsoon (EAWM) including centennial to decadal-scale variations spanning the last 2300 calendar years before present (cal. yr BP). The results indicate that EAWM variations are consistent with temperature changes in eastern China (as inferred from historical documents). Additionally, the sea surface temperature (SST) in the Southern Okinawa Trough, the δ18O of stalagmite from the Sanbao cave and the drift ice indices from the North Atlantic, along with strong or weak EAWMs, corresponding to low or high temperatures, respectively. Four periods of EAWM variations were identified, namely, a weak EAWM stage from 2300 to 2050 cal. yr BP; a comparatively enhanced EAWM between 2050 and 1700 cal. yr BP; a return to a weak EAWM from 1700 to 700 cal. yr BP, including the Roman Warm Period (RWP), the Sui–Tang Dynasty Warm Period (STWP) and the ‘Medieval Warm Period’ (MWP) and a strongly developed EAWM between 700 and 100 cal. yr BP, corresponding to a ‘Little Ice Age’. An important abrupt warm to cold climate change event occurred around 678 cal. yr BP. During this period, the climate change was likely related to global scale changes in atmospheric circulation. Spectral analyses of the ESGSC proxies show high-frequency cycles and a close solar–monsoon connection to the EAWM, suggesting that one of the primary controls for centennial to decadal-scale change in EAWM intensity was the variation in solar radiation during that time.

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N., Seregin, Narudtseva E., Chistyakova A., and Radovsky S. "Medieval Mirrors from the Collection of Altai State Museum of Local Lore." Teoriya i praktika arkheologicheskikh issledovaniy 33, no. 2 (2021): 226–42. http://dx.doi.org/10.14258/tpai(2021)33(2).-13.

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The article presents the characteristic of medieval metal mirrors in the collection of the Altai State Museum of Local Lore (Barnaul). The analysis of three items (two fragments and one complete product) has been carried out. The authors reviewed the history of the formation of this small collection, and also provided a detailed description of each mirror. It has been established that the find from the Kirillovka-V complex is a part of an eight-bladed artifact, which, judging by the recorded characteristics, is an original Chinese mirror of the late Tang time. The fragment discovered during the excavations of the Khoroshonok-I necropolis has no analogies in the sites of North and Central Asia. The dating of both designated objects is determined by the last centuries of the 1st millennium AD. The third mirror was made during the Yuan Dynasty and belongs to a very rare type of product. The analysis of the considered group of objects from the Altai State Museum of Local Lore collection demonstrates a significant informational potential for further study of metal mirrors from museum collections, some of which have not yet been published and are not included in the context of modern research. Keywords: metal mirrors, Middle Ages, museum, Altai, archaeological sites, China, chronology Acknowledgements: The study was carried out within the framework of the state assignment of the Altai State University, project No. 748715Ф.99.1. ББ97АА00002 “The Turkic-Mongolian World of the “Great Altai”: Unity and Diversity in History and Modernity”.

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이해원. "Tang Poetry and Wines of Tang Dynasty." Journal of Chinese Cultural Studies ll, no. 15 (December 2009): 507–36. http://dx.doi.org/10.18212/cccs.2009..15.028.

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许, 正东. "The Investigation of the Exchange between Japanese Monks and Chinese Officials in Late Tang Dynasty before and after the Huichang Buddhism Crisis—Centered on Ennin’s Diary The Record of a Pilgrimage to China in Search of the Law." Open Journal of Historical Studies 07, no. 02 (2019): 66–76. http://dx.doi.org/10.12677/ojhs.2019.72010.

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유강하. "Reading Chinese Tang Dynasty Bronze Mirror." Journal of the research of chinese novels ll, no. 28 (September 2008): 127–54. http://dx.doi.org/10.17004/jrcn.2008..28.008.

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Nugent, Christopher. "Literary Collections in Tang Dynasty China." T'oung Pao 93, no. 1 (March 1, 2007): 1–52. http://dx.doi.org/10.1163/008254307x211098.

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Xu wen wu. "Investigation of the Tang Dynasty Song." Journal of Study on Language and Culture of Korea and China ll, no. 24 (November 2010): 101–18. http://dx.doi.org/10.16874/jslckc.2010..24.006.

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Escande, Yolaine. "Tang Dynasty Aesthetic Criteria: Zhang Huaiguan'sShuduan." Journal of Chinese Philosophy 41, no. 1-2 (March 2014): 148–69. http://dx.doi.org/10.1111/1540-6253.12093.

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Dien, Albert. "ARMOR IN CHINA BEFORE THE TANG DYNASTY." Journal of East Asian Archaeology 2, no. 3 (September 1, 2000): 23–59. http://dx.doi.org/10.1163/156852300760222047.

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Journal articles on the topic 'The late Tang Dynasty'

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