Academic literature on the topic 'Xuzhou Shi (Jiangsu Sheng, China)'

Abstract Shandong province is the leading peanut-producing province in China which in turn is the leading peanut-producing country in the world. Shandong Peanut Research Institute (SPRI), an institute of the Shandong Academy of Agricultural Science, has had an ongoing breeding program for more than 40 yr and is the source of the peanut cultivars that dominate production in Shandong province and northern China. About 75 peanut cultivars and breeding lines have been released in Shandong by SPRI and other institutions. The genetic base of Shandong peanut cultivars has been described as narrow. The objective of this study was to (a) determine the genetic contribution of main ancestors to the genetic base of Shandong peanut cultivars and (b) study the genetic relationships among the peanut cultivars released in Shandong province during 1950-1999. Twentysix ancestors were identified in the pedigrees of 69 improved lines, 24 ancestors of Chinese origin contributed 96.1% of the Shandong peanut genetic base, and two exotic introductions contributed only 3.6%. The four most important ancestors based on average coancestry with the 69 improved lines are Fu Hua Sheng (PI 436545), Shi Tou Qi (PI 430227 and PI 461435), Jianggezhuang Ban Man (PI 433351), and Shuyang Da Zhan Yang from which 67, 28, 27 and 19 lines were derived, respectively. Among the 20 dominant cultivars of Shandong province, recently released cultivars Lu Hua 14 and Lu Hua 15 have the lowest average coancestry with the others which means those two new cultivars' have the high genetic divergence. In contrast, the very popular cultivars Fu Hua Sheng, Baisha 1016, Xuzhou 68-4, Lu Hua 9, and the new cultivar 8130 were closely related to the other cultivars. The results suggest that the genetic base of Shandong peanut cultivars released before 1990 is narrow, but that cultivars released after 1990 have broadened the genetic base due to introduction and use of new germplasm in the pedigrees. This information will be used as a guide for peanut breeders in choosing parents and avoiding genetic vulnerability to pests. For new cross combinations, parents with low coefficients of coancestry should be chosen in order to keep enlarging the gene pool of the new cultivars.

本文主要探讨苏州话的连续变调，研究范围限定为音译词和复合词这两类多音节词。通过对苏州话语料的详细考察，本文总结出苏州话多音节词连读变调存在三层变调行为：（i）首音节尽量保留原调;（ii）第二个音节的变调与首音节的单字调有关;（iii）其余音节负载一个低平调.
本文针对舒声调为首音节的多音节词的变调规律，回答了如下问题：（i）苏州话连续变调为何存在三层变调行为，而非两层或者四层？（ii）首音节保持原调的变调行为及它较高的负载声调的能力是由什么决定的？（iii）其余音节所负载的变调是如何决定的？
经过分析，我们将苏州话的变调域确认为韵律词，其内部结构如下：每个韵律词的头两个音节构成一个左重双拍音步，剩余的音节不构成音步因而直接被韵律词所管辖。由此苏州话的三层变调行为可以通过这三类音节在韵律词中的不同地位来解释，即：（i）首音节是左重双拍步中的强音节; （ii）第二个音节是左重双拍步中的弱音节; （iii）其余音节因不属于音步而被韵律词直接管辖。
基于对苏州话韵律结构的分析，本文以优选论为框架从理论上统一解释苏州话的连续变调。首先忠实性制约条件“禁止删除强音节单字调和“禁止强音节单字调变化 解释了首音节尽量保留原调的变调行为。其次，“禁止复杂仄调“，“禁止升调“和“禁止弱音节负载仄调这些简约性制约条件解释了现今苏州话连读变调模式中不允许出现复杂仄调，升调和非首音节仄调的现象。再次，“尾音节连接低调解释了连读变调后韵律词尾音节所负载的低平调。
本文通过对音译词和复合词的分类考察，补充了前人对苏州话连读变调现象的描述。而且在以往理论研究的基础上，本文论证了苏州话的连读变调是由它的韵律结构所决定的，由此补足了苏州话变调现象的理论解释。最后，本文对苏州话的分析也进一步印证了韵律结构的层级关系和韵律单位是人类语言所共有的，但韵律单位的构建在不同语言中则各有不同。
This thesis presents an optimality-theoretic account of Suzhou tone sandhi from a prosodic perspective. By investigating transliterations and compounds, we find a three-way distinction of tone sandhi behavior within a tone sandhi domain: (i) the initial syllable has the ability to retain its citation tone; (ii) the second syllable carries a sandhi level tone related to the citation tone in the initial syllable; and (iii) the remaining syllables carry a low level tone.
Focusing on the tone sandhi patterns with initial long tones, we answer the following research questions: (i) what determines the existence of a three-way distinction of tone sandhi behavior, rather than a two-way or four-way one? (ii) what determines the tone stability and the greater tone-bearing ability of the initial syllable? and (iii) how are the sandhi tones in the non-initial syllables determined?
The tone sandhi domain in Suzhou Chinese is identified as the prosodic word, which contains a single left-headed binary foot and unfooted syllables. The three-way distinction is then captured by the three prosodic states in a prosodic word: (i) the strong syllable in the left-headed binary foot within the prosodic word, (ii) the weak syllable in this foot, and (iii) the syllables which are unfooted and immediately dominated by the prosodic word.
Based on the analysis of Suzhou prosodic structure, our account of Suzhou tone sandhi is formulated within the framework of Optimality Theory. First, ranking the positional faithfulness constraints with reference to strong syllables higher than the context-free faithfulness constraints guarantees the tone stability of the initial syllables. Second, the undominated markedness constraints which require no complex contour tone and no rising tone trigger contour tone reduction and tone redistribution. Another undominated markedness constraint which requires no contour tone in weak syllables ensures no contour tones in a weak syllable, i.e. a non-initial syllable in Suzhou Chinese. Third, the final low level tone in the sandhi patterns is determined by the markedness constraint which requires low tone assignment in the rightmost syllable of a prosodic word.
This thesis complements the descriptive studies on Suzhou tone sandhi, by adding the data of transliterations and investigating compounds according to the morphological relations. It also confirms the idea in previous theoretical studies on Chinese languages that prosodic structure governs tone sandhi, including the tone stability in strong syllables and the greater tone-bearing ability of strong syllables. This thesis further corroborates the idea in Prosodic Phonology that the prosodic hierarchy and its constituent are universal, though the precise shape of the constituent are language-specific.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Shi, Xinyuan.
"November 2012."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Abstracts also in Chinese.
ABSTRACT --- p.I
ACKNOWLEDGEMENTS --- p.I
Chapter CHAPTER 1 --- INTRODUCTION --- p.1
Chapter 1.1 --- OVERVIEW --- p.1
Chapter 1.2 --- PRELIMINARY: PHONETIC INVENTORIES OF SUZHOU CHINESE --- p.2
Chapter 1.3 --- THEORETICAL FRAMEWORK: OPTIMALITY THEORY --- p.6
Chapter 1.3.1 --- Basic principles --- p.6
Chapter 1.3.2 --- Conflicts between markedness and faithfulness --- p.9
Chapter 1.3.3 --- Alignment constraints --- p.9
Chapter 1.4 --- ORGANIZATION --- p.10
Chapter CHAPTER 2 --- INVESTIGATION OF TONE SANDHI PATTERNS IN SUZHOU CHINESE --- p.11
Chapter 2.1 --- DESCRIPTIVE STUDIES ON TONAL PHONOLOGY OF SUZHOU CHINESE --- p.11
Chapter 2.1.1 --- Citation tones --- p.11
Chapter 2.1.2 --- Tone sandhi --- p.15
Chapter 2.1.3 --- Interim summary --- p.21
Chapter 2.2 --- TONE SANDHI PATTERNS IN SUZHOU CHINESE: THE CURRENT INVESTIGATION . --- p.22
Chapter 2.2.1 --- Tone sandhi patterns in transliterations --- p.22
Chapter 2.2.1.1 --- Tone sandhi patterns beginning with long tones --- p.23
Chapter 2.2.1.2 --- Tone sandhi patterns beginning with short tones --- p.28
Chapter 2.2.2 --- Tone sandhi patterns in compounds --- p.32
Chapter 2.2.2.1 --- Tone sandhi patterns in compounds I: modification --- p.34
Chapter 2.2.2.2 --- Tone sandhi patterns in compounds II: coordination --- p.38
Chapter 2.2.2.3 --- Tone sandhi patterns in compounds III: other morphological relations --- p.40
Chapter 2.2.2.4 --- Intra-variations in disyllabic compounds: [HL.L]~[HL.H] --- p.42
Chapter 2.2.2.5 --- Inter-speaker variations in compounds: [LL.H]~[LH.H] --- p.44
Chapter 2.2.2.6 --- Tone sandhi in a group of frequently used compounds --- p.46
Chapter 2.2.3 --- Tone sandhi in fast tempo --- p.50
Chapter 2.3 --- SUMMARY --- p.53
Chapter CHAPTER 3 --- PREVIOUS STUDIES OF TONE SANDHI IN CHINESE LANGUAGES --- p.57
Chapter 3.1 --- STUDIES OF THE REPRESENTATION OF TONE WITHIN THE SPE FRAMEWORK --- p.57
Chapter 3.1.1 --- Wang’s (1967) ground-breaking proposal of tone features --- p.58
Chapter 3.1.2 --- Woo’s (1969) proposal of decomposing contour tones --- p.59
Chapter 3.1.3 --- Yip’s (1980) proposal of two pitch heights in each register --- p.61
Chapter 3.1.4 --- Interim summary --- p.63
Chapter 3.2 --- STUDIES OF TONE SANDHI IN NORTHERN WU WITHIN THE METRICAL-AUTOSEGMENTAL FRAMEWORK --- p.64
Chapter 3.2.1 --- Duanmu’s (1990) moraic analysis of tone re-association in New Shanghai --- p.65
Chapter 3.2.2 --- Ao’s (1993) identification of tone sandhi domain in Nantong Chinese --- p.66
Chapter 3.2.3 --- Interim summary --- p.69
Chapter 3.3 --- STUDIES OF TONAL DISTRIBUTION WITHIN OT FRAMEWORK --- p.71
Chapter 3.3.1 --- Jiang-King’s (1996) tone-syllable weight correlation in Northern Min --- p.71
Chapter 3.3.2 --- Zhang’s (2001) tone-duration correlation in typological survey --- p.73
Chapter 3.3.3 --- Interim summary --- p.74
Chapter 3.4 --- SUMMARY --- p.76
Chapter CHAPTER 4 --- AN OPTIMALITY THEORETICAL ACCOUNT OF TONE SANDHI IN SUZHOU CHINESE --- p.77
Chapter 4.1 --- IDENTIFYING THE TONE SANDHI DOMAIN --- p.78
Chapter 4.1.1 --- Identifying prosodic word as the tone sandhi domain --- p.78
Chapter 4.1.1.1 --- Brief introduction of the prosodic hierarchy --- p.78
Chapter 4.1.1.2 --- Prosodic categories relevant to Suzhou tone sandhi --- p.80
Chapter 4.1.1.3 --- Construction of prosodic word in Suzhou Chinese --- p.82
Chapter 4.1.2 --- Identifying morpho-syntactic unit as the tone sandhi domain --- p.86
Chapter 4.1.2.1 --- Inadequacy of identifying morphological unit as the tone sandhi domain --- p.89
Chapter 4.1.2.2 --- The relation between tone sandhi domains and morphological units --- p.91
Chapter 4.1.2.3 --- Mismatch between tone sandhi domain and syntactic unit --- p.93
Chapter 4.1.3 --- Interim summary --- p.95
Chapter 4.2 --- CONSTRAINTS ON SUZHOU TONE SANDHI PATTERNS --- p.96
Chapter 4.2.1 --- Constraints on the structure of the prosodic word --- p.96
Chapter 4.2.2 --- Constraints on tone retention --- p.99
Chapter 4.2.3 --- Constraints on contour tone prohibition --- p.101
Chapter 4.2.4 --- Constraint on tonal assignment --- p.102
Chapter 4.3 --- PREDICTING TONE SANDHI PATTERNS BY CONSTRAINT RANKING --- p.104
Chapter 4.3.1 --- Predicting tone sandhi patterns in transliterations --- p.104
Chapter 4.3.2 --- Predicting tone sandhi patterns in compounds --- p.110
Chapter 4.3.2.1 --- Intra-speaker variations in compounds: [HL.L]~[HL.H] --- p.110
Chapter 4.3.2.3 --- Inter-speaker variations in compounds: [LL.H]~[LH.L] --- p.113
Chapter 4.3.2.4 --- Tone sandhi in fast speech tempo --- p.117
Chapter 4.4 --- SUMMARY --- p.119
Chapter CHAPTER 5 --- CONCLUSION --- p.120
LIST OF REFERENCES --- p.125

朱穎.
論文(哲學碩士) -- 香港中文大學硏究院政治與行政學部, 1997.
參考文獻: leaves 129-135.
Zhu Ying.
Chapter 第一章： --- 導論 --- p.7
Chapter 一、 --- 現化化：世界性的潮流 --- p.7
Chapter 二、 --- 東亞「四小龍」工業化戰略和措施 --- p.10
Chapter 三、 --- 現代化：中國幾代人的探索 --- p.13
Chapter 四、 --- 蘇州工業園區的嘗試 --- p.17
Chapter 五、 --- 硏究焦點 --- p.22
Chapter 六、 --- 硏究方法 --- p.23
Chapter 七、 --- 章節安排 --- p.23
Chapter 八、 --- 本硏究的意義 --- p.24
Chapter 第二章： --- 改革開放的十字路口和經濟性特區的第二次創業 --- p.26
Chapter 一、 --- 改革開放的十字路口和鄧小平南巡 --- p.26
Chapter 二、 --- 經濟性特區區誕生背景 --- p.28
Chapter 三、 --- 經濟性特區地位和作用 --- p.30
Chapter 四、 --- 開發區存在的問題及發展方向 --- p.33
Chapter 五、 --- 小結 --- p.37
Chapter 第三章： --- 新加坡經驗的啓示和裕廊工業區模式 --- p.39
Chapter 一、 --- 新加坡經驗的啓示 --- p.39
Chapter 二、 --- 新加坡工業化槪況和特點 --- p.41
Chapter 三、 --- 設立裕廊工業區的背景和目的 --- p.47
Chapter 四、 --- 裕廊工業區白勺發展槪況和成 效 --- p.50
Chapter 五、 --- 裕廊工業區的條件和特點 --- p.52
Chapter 六、 --- 小結 --- p.61
Chapter 第四章： --- 蘇州工業園區的決策過程和發展槪況 --- p.63
Chapter ´ؤ、 --- 雙方合作動機 --- p.63
Chapter 二、 --- 園區產生的決策過程 --- p.67
Chapter 三、 --- 蘇州工業園區的區位 --- p.71
Chapter 四、 --- 發展目標和規劃設想 --- p.75
Chapter 五、 --- 目前的進展和開發前景 --- p.76
Chapter 六、 --- 政策環境 --- p.77
Chapter 七、 --- 中新雙方合作的制度機制 --- p.79
Chapter 八、 --- 小結 --- p.79
Chapter 第五章： --- 蘇州工業園區的開發和管理體制 --- p.81
Chapter 一、 --- 蘇州工業園區的開發體制 --- p.81
Chapter 二、 --- 蘇州工業園區的管理體制 --- p.90
Chapter 三、 --- 小結 --- p.100
Chapter 第六章： --- 蘇州工業園區的激勵和制約機制 --- p.101
Chapter 一、 --- 蘇州工業園區的激勵機制 --- p.101
Chapter 二、 --- 蘇州工業園區的制約機制 --- p.106
Chapter 三、 --- 小結 --- p.112
Chapter 第七章： --- 結論 --- p.113
附圖 --- p.120
附錄 --- p.125
參考文獻 --- p.129

唐錦騰.
論文(博士)--香港中文大學, 2000.
附參考文獻.
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Tang Jinteng.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000.
Fu can kao wen xian.
Zhong Ying wen zhai yao.

周松亞.
"2001年2月"
論文 (哲學碩士)--香港中文大學, 2001.
參考文獻 (leaves 126-138)
附中英文摘要.
"2001 nian 2 yue"
Zhou Songya.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 126-138)
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 緒論
Chapter 1. --- 硏究背景和槪況 --- p.1 -10
Chapter 2. --- 硏究目的 --- p.10 -12
Chapter 3. --- 硏究方法 --- p.12 -14
Chapter 第二章 --- 陸文夫的生活經歷和其飲食文學的關係
Chapter 1. --- 引言 --- p.15 -17
Chapter 2. --- 青少年時期與蘇州的小食 --- p.17 -18
Chapter 3. --- 與蘇州老作家的吃喝經歷 --- p.19-21
Chapter 4. --- 文壇上的三起二落與吃喝閱歷的關係 --- p.21 -23
Chapter 5. --- 小結 --- p.23 -24
Chapter 第三章 --- 陸文夫飲食文學和蘇州味道
Chapter 1. --- 引言 --- p.25
Chapter 2. --- 蘇州飲食文化 --- p.25 -47
Chapter 3. --- 蘇州民俗風情 --- p.47 -51
Chapter 4. --- 小結 --- p.51 -52
Chapter 第四章 --- 陸文夫小說中飲食和人物性格的關係
Chapter 1. --- 引言 --- p.53
Chapter 2. --- 食物與人物性格 --- p.53-66
Chapter 3. --- 酒、茶、煙與人物性格 --- p.66-84
Chapter 4. --- 小結 --- p.84
Chapter 第五章 --- 陸文夫小說中飲食和主題的關係
Chapter 1. --- 引言 --- p.85 -86
Chapter 2. --- 食物和情節的關係 --- p.86 -105
Chapter 3. --- 食物和主題的關係 --- p.105 -117
Chapter 4. --- 小結 --- p.117
Chapter 第六章 --- 總結 --- p.118 -125
參考書目 --- p.126 -138

劉紅.
論文(博士) -- 香港中文大學硏究院音樂學部, 1996.
參考文献 : leaves 248-251.
Liu Hong.
前言
簡 述
Chapter 第一節 --- 本選題之背景 --- p.1
Chapter 第二節 --- 與本選題有關研究之簡略評述 --- p.1
Chapter 一、 --- 道教音樂研究之概况 --- p.1
Chapter 二、 --- 與本選題有關研究之評述 --- p.2
Chapter 第三節 --- 本選題之意義 --- p.3
Chapter 第四節 --- 本選題之研究方法上的考慮 --- p.4
Chapter 一、 --- 田野工作 --- p.4
Chapter 二、 --- 本人經歷 --- p.5
Chapter 三、 --- 研究的角度和方法 --- p.5
Chapter 第一章 --- 概述 --- p.8
Chapter 第一節 --- 蘇州道教概况 --- p.8
Chapter 第二節 --- 蘇州道教音樂述略 --- p.13
Chapter 一、 --- 蘇州道樂的歷史 --- p.13
Chapter 二、 --- 蘇州道樂的特點 --- p.19
Chapter 第二章 --- 蘇州道教科儀 --- p.25
Chapter 第一節 --- 正一道科儀簡述 --- p.25
Chapter 第二節 --- 蘇州道教科儀之沿革及現狀 --- p.27
Chapter 第三章 --- 「天功」科儀及其音樂 --- p.32
Chapter 第一節 --- 「天功」科儀的版本 --- p.32
Chapter 第二節 --- 「天功」科儀簡介 --- p.34
Chapter 第三節 --- 「天功」科儀的結構 --- p.40
Chapter 一、 --- 儀式空間結構 --- p.41
Chapter 二、 --- 儀式參與人員結構 --- p.44
Chapter 第四節 --- 「天功」科儀及其音樂之程序 --- p.46
Chapter 第五節 --- 「天功」科儀的即興性因素 --- p.144
Chapter 第六節 --- 「天功」科儀音樂之類别劃分 --- p.147
Chapter 一、 --- 音樂形式分類 --- p.148
Chapter 二、 --- 音樂功能分類 --- p.150
Chapter 第七節 --- 「天功」科儀音樂之表現形式 --- p.151
Chapter 一、 --- 經韵唱誦形式 --- p.151
Chapter 二、 --- 樂器及法器種類 --- p.152
Chapter 三、 --- 樂器與法器的組合及運用形式 --- p.153
Chapter 第四章 --- 「天功」科儀音樂之形態分析 --- p.162
Chapter 第一節 --- 關于記譜的¨®Ơ明 --- p.162
Chapter 第二節 --- 「天功」科儀音樂諸要素描述 --- p.163
Chapter 一、 --- 調ˇ±ة調式與調性 --- p.163
Chapter 二、 --- 音階音列與音域 --- p.166
Chapter 三、 --- 節拍與速度 --- p.167
Chapter 第三節 --- 旋律形態 --- p.170
Chapter 一、 --- 典型旋律型 --- p.170
Chapter 二、 --- 典型旋律型變體 --- p.176
Chapter 三、 --- 旋律發展手法 --- p.179
Chapter 第四節 --- 節奏形態 --- p.182
Chapter 一、 --- 宏觀節奏形態 --- p.182
Chapter 二、 --- 微觀節奏形態 --- p.184
Chapter 三、 --- 節奏與功能 --- p.184
Chapter 第五節 --- 結構形態 --- p.185
Chapter 一、 --- 整體結構 --- p.185
Chapter 二、 --- 韵體結構 --- p.185
Chapter 三、 --- 句式結構 --- p.186
Chapter 四、 --- 腔詞結構 --- p.188
Chapter 五、 --- 固定尾句結構 --- p.193
Chapter 第五章 --- 蘇州道教科儀音樂與地方民間音樂之比較 --- p.196
Chapter 第一節 --- 蘇州道樂與蘇州民間俗樂之關系 --- p.196
Chapter 一、 --- 與蘇州民歌的關系 --- p.196
Chapter 二、 --- 與蘇州彈詞的關系 --- p.199
Chapter 三、 --- 與蘇南吹打的關系 --- p.203
Chapter 四、 --- 與昆曲的關系 --- p.210
Chapter 第二節 --- 蘇州道樂舆蘇州民間俗樂之關系的 社會文化背景 --- p.214
Chapter 一、 --- 地理環境因素 --- p.214
Chapter 二、 --- 民俗習慣因素 --- p.218
Chapter 第六章 --- 蘇州道教科儀音樂之文化環境分析 --- p.223
Chapter 第一節 --- 音樂概念與音樂價值觀念 --- p.223
Chapter 一、 --- 音樂的概念 --- p.223
Chapter 二、 --- 音樂的價值觀念 --- p.226
Chapter 第二節 --- 音樂的宇宙意識 --- p.229
Chapter 一、 --- 道教生命觀念中的宇宙意識 --- p.229
Chapter 二、 --- 道教儀式環境中的宇宙意識 --- p.229
Chapter 三、 --- 蘇州道樂中的宇宙意識 --- p.232
Chapter 第三節 --- 儀式行為人的訓練和經歷與音樂風格 形成之關系 --- p.235
Chapter 第四節 --- 宮觀管理制度與音樂風格形成之關系 --- p.239
餘論蘇州道教音樂之發展問題 ´ؤ´ؤ傳統與現實的挑戰 --- p.244
總 結 --- p.247
參考書目 --- p.248

鄧民亮.
論文(碩士) -- 香港中文大學硏究院藝術學部,1995.
參考文獻: leaves [1-9] (2nd group)
Deng Minliang.
前言 --- p.2
Chapter 第一章 --- 吳中地區的復興對書法好¯‘ة之影響 --- p.4
Chapter 第二章 --- 文徵明的交遊與吳中文苑 --- p.22
Chapter 第三章 --- 吳中地區的書法收藏槪況與 文徵明的鑑藏活動 --- p.72
Chapter 第四章 --- 文徵明的書學 --- p.103
Chapter 第五章 --- 文徵明的書法風格與所見藏品之關係 --- p.122
總結 --- p.157
參考書目
附錄一文徵明家藏及題跋書法名蹟
附錄二著錄所見及傳世文徵明所書《千字文》
附錄三文徵明題跋所見引用書目
附錄四吳寬《匏翁家藏集》所載書法題跋
附錄五都穆《寓意編》所載書法收藏
附錄六華夏所藏書法
附錄七《珊瑚網》所載王世貞書法收藏
附錄八《珊瑚網》所載王世貞收藏碑帖
附錄九《珊瑚網》所載王世懋收藏書法
附錄十項元汴所藏書法
附錄十一《鈐山堂書畫記》所載書法收藏
附錄十二《珊瑚網》著錄書法收藏
附錄十三詹景鳳《東圖玄覽編》所載書法收藏
圖版

This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general.
Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene.
With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School.
徐麗莎.
呈交日期: 2005年8月.
論文(哲學博士)--香港中文大學, 2005.
參考文獻(p. i-x (2nd group)).
Cheng jiao ri qi: 2005 nian 8 yue.
Advisers: Jao Tsung-i; Harold Mok Kar-leung.
Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (p. i-x (2nd group)).
Xu Lisha.

Chapter 1 reviews the background to the rise of art patronage studies and their development and its influence on studies of Chinese art history. It also provides alternative approaches to studying activities related to patronage and their influence and role in Chinese art history by criticising traditional analysis of Chinese art based on social and economic theories.
Chapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections.
Chapter 3 discusses how Wang, given his knowledge in history and passion for art and its collection, reinterprets art history with reference to his private collection of art, and thereby consolidating his status as a leading figure of literary and cultural circle of his time.
Chapter 4 explains and reflects on the formation of the "artist-patron" relationship through examining the relationship and interaction between Wang and the literary circle and by appraising the financial background and standing of artists and calligraphers at the time.
Chapter 5 examines the direct impact that Wang, as a literary leader and patron of the art, has on the styles and subject matter of art work by examining and decoding several pieces of art commissioned by himself, thus revealing a distinct mechanism in which art was produced at the time.
Chapter 6 discusses the "artist-patron" relationship and the "trading of cultural resources" by examining diverse pieces of art work given to Wang as gifts by different individual artists and calligraphers.
Chapter 7 analyses the significance of the patronage activities of Wang and provides a new approach to understanding the issue of traditional Chinese art patronage in Chinese art history.
Through a case study of the life of Wang Shizhen, this research attempts to analyse the influence of literary leader and patron of the arts on the development of painting and calligraphy during the mid-Ming period. By analysing the "artist-patron" relationship, this paper attempts to explain alternative mechanism through which traditional Chinese art was produced. The thesis also examines art patronage activities in Suzhou during the sixteenth century and thereby attempts to examine these activities from the broader cultural and historical context at the time. This paper is divided into seven chapters:
鄧民亮.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 298-320).
Advisers: Tsung-i Jao; Kar Leung Mok.
Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0378.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 298-320).
Deng Minliang.