Inheritance and innovation of traditional Chinese glass-fi lament-laying techniques in Boshan

There is a brick-vault roofed bathroom building, commonly known as the Cistern Hall (Wengtang), opposite the Grand Baoen Temple Heritage and Scenic Area near the Zhonghua Gate in Nanjing. This article analyzes its shape and characteristics by means of a 3D scan that surveys and maps out 2019 data on the site. On this basis, this article suggests that the bathroom may have been built as an annex to the Grand Baoen Temple in the early Ming dynasty. This kind of bathroom design originated in West Asia, entered China during the Yuan dynasty (1271‒1368) and became popular in the Jiangnan region during the Ming (1368‒1644) and Qing (1644‒1911) dynasties. In a lively exchange of architectural ideas, it bore witness to rich, in-depth architectural cultural exchanges between China, Central Asia, and West Asia in the Yuan and Ming dynasties.

The Xu's Medical Family, from the Northern and Southern Dynasties, was called an official family with medical background by Fan Xingzhun. Its genealogy was traced back to the end of the Sui Dynasty and the beginning of the Tang Dynasty. Based on the local chronicles, epitaphs, history books and relevant medical historical artifacts, this paper explores the development of the Xu's Medical Family in the Yuan and the Ming Dynasties. Most of the Xu's family members were appointed as medical officials locally after Xue Yueweng in the Yuan Dynasty. Xu Shu, Xu Biao, Xu Wei and Xu Wenyuan were appointed as Medical Ambassadors and the judges of Tai Yi Hospital in the Ming Dynasty. Xu Wei was appointed as the Right Tong Zheng in charge of the Tai Yi Hospital affairs in the period of Jia Jing, and promoted to the Chief of Taipu Department in the period of Wan Li in the Ming Dynasty. He was the highest-ranking official in the Xu's Medical Family in the Yuan and Ming dynasties. The Xu's Medical Family were a family of both officials and doctors, to some extent, related to the Yi-Hu System in both the Yuan and the Ming Dynasties. Some of the Xu's family members still took a career as a doctor, but did not serve as medical officers from the Qing Dynasty. Some of the Xu's decendants went into official careers via the Imperial Examination, such as Xu Shifen, as Deputy Minister of Hubu in the Qing Dynasty.

In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.

This paper examines the pragmatic process of hao(好) as greeting. The development of hao(好) has experienced three important stages. The first stage is the Tang and Song dynasties. At this time, hao(好) appears as a morpheme in greetings. haozai(好在) is the greeting when meeting. It has the form of question and statement at the same time.The second stage is the yuan and Ming Dynasties. hao(好) began to become a separate word for greetings. The interrogative function of inquiry greeting gradually weakened, the temporal expression and the addition of body movements appeared in the Yuan Dynasty and inherited and developed in the Ming Dynasty. The yuan and Ming Dynasties was an important period for the hao(好) greeting to change from interrogative to declarative, and it was a transitional period for the hao(好) word from free greeting to programmed greeting. The third stage is from the Qing Dynasty to the Republic of China. The most prominent feature is that the form of person + hao(好) has become the mainstream expression of hao(好) greetings. The expression forms of hao(好) greeting are very diverse. In addition to various modal particles, there are many expressions with the concept of time. nihao(你好) and nihaoma(你好嗎)in modern Chinese are the pragmatic results of nihao(你好) greetings from the Qing Dynasty to the Republic of China. The reason why the word hao(好) can be used in greetings is closely related to its own meaning and the cognitive process of Chinese symbolic language. hao(好) uses physical health to express psychological comfort, which is a metaphor. Using this psychological comfort to express the comfort caused by various situations is a metonymic expression.

Study on the coloring mechanism of Longquan light greenish-blue celadon glaze from the Southern Song and Yuan Dynasties

This is a study of the possibility of identifying antique Chinese porcelains according to the period or dynasty, using major and minor chemical components (SiO2 , Al2O3 , Fe2O3 , K2O, Na2O, CaO and MgO) from the body of the porcelain. Principal component analysis is applied to published data on 66 pieces of Chinese procelains made in Jingdezhen during the Five Dynasties and the Song, Yuan, Ming and Qing Dynasties. It is shown that porcelains made during the Five Dynasties and the Yuan (or Ming) and Qing Dynasties can be segregated completely without any overlap. However, there is appreciable overlap between the Five Dynasties and the Song Dynasty, some overlap between the Song and Ming Dynasties and also between the Yuan and Ming Dynasties. Interestingly, Qing procelains are well separated from all the others. The percentage of silica in the porcelain body decreases and that of alumina increases with recentness with the exception of the Yuan and Ming Dynasties, where this trend is reversed.

After the Song and Yuan dynasties, the development of the imperial examination system was witnessed by the spread of the Neo-Confucianism of the Song and Ming dynasties. This was accompanied by the position of culture and education buildings in the local urban landscape system that was greatly improved, some even dominating the performance of the urban landscape. resulted structure of the urban landscape before the Song Dynasty is described as the so-called status change of the The Status of Culture and Education. Studies have shown that The Status Change during the Ming and Qing Dynasties could be found here and there. This work took the City of Yangzhou Prefecture in the Ming and Qing Dynasties as the research object. Starting from the background of the development of culture and education, this paper expounds the process and characteristics of such a status change during this period.

Stage Directions in the Performance of Yuan Drama Min Tian The origin of Chinese theater can be traced back to its ancient roots in Chinese primitive shamanism. The birth and growth of a fullfledged drama with dialogue, singing, action, and most importantly, impersonation, in medieval China, however, began in the Yuan dynasty (1279-1368),the golden age ofChinese drama. The tradition ofYuan zaju (Yuan poetic and music drama, or literally, "miscellaneous drama") was practicallylost to us in spite ofits short revivals in the Ming (1368-1644) and Qing dynasties (1644-1911). Little external evidence survived to substantiate a reconstruction ofthe originalconditions andperformance style ofYuan zaju.This essayis a studyoftheperformance ofYuan zajuvis-à-vis its stage directions in the context of its speeches, dialogues, and songs. It draws on an electronic database that I have designed to collect all stage directions marked with ke (indicating action in a stage direction) totaling more than 7,300 with an average ofmore than 45 for each play from the corpus ofYuan zaju that consists of 162 plays. Since Yuan zaju was centered on qu (songs and tunes of songs), bai (spoken prose and poetry) and kewere not considered as nearly important as qu.As a matter offact,theplays (with afewexceptions) in Yuankan zaju sanshizhong (The Thirty Zaju Plays in Yuan Printings), the earliest surviving collection of the thirty Yuan zaju plays printed in the Yuan dynasty, include onlysome incidental prose and a fewdirections marked with ke, and some ofthe plays feature only songs and tunes.While studies in Yuan qu have been systematic and exhaustive and studies in the spoken parts of the Yuan zaju plays so far have been significantly improved , a systematic study of the stage directions as they are used in the corpus ofYuan zaju as a whole has yet to be made.1 397 398Comparative Drama The difficulty ofusing and studying stage directions as internal evidence to the performance ofYuan zaju resides in several critical issues. First,it is the issue ofthe texts ofYuan zaju.We have nowonlythirtyplay scripts that were printed in the Yuan dynasty as some examples of the Yuan zaju as the Yuan audience knew and watched in performance. The texts ofthe majority ofthese plays, however, appear, or were intended to be, incomplete with only a few stage directions and, in some cases, no stage directions at all.The majorityoftheYuan zajuplays are available to us in a number ofMing collections produced during the Ming dynasty. As this study demonstrates in the following,these plays were edited,collated , or revised in varying degrees by Ming scholars and bibliophiles and were, directly or indirectly, derivative from or related to, and thus influenced by, the Ming court performances. Consequently, they may not reflect the original performance ofthe Yuan zaju plays. In addition, the "inconsistent" practice of marking a stage direction with or without ke or the presence or absence of a stage direction in certain scenes in plays from different collections may point to the fact that not all stage directions are reliable sources or evidence. Moreover, the extreme terseness of the majority of the stage directions may not provide enough concrete information on the actual performances. The last critical issue is that some of the stage directions may have been only authorial and editorial decisions and were probably never realized in actual performances . Given these facts and possibilities, however, the Ming collation and revision were primarily focused on the sung and spoken parts and, although stage directions were added or trimmed, the kinds of stage directions and their use do not appear radicallydifferentfrom their counterparts in the Yuankan plays. Because of the high rate of repetition of the same or similar stage directions in different dramatic and scenic situations, those "inconsistencies" in the marking of individual stage directions appear rather insignificant. Furthermore,for the same reason, the conciseness of the stage directions may indeed testify to the existence of established performance conventions and rules available to the contemporary players. Therefore we may gain a substantial understanding of the enactment of those individual actions suggested by the stage directions and the general style ofYuan performance by studying those stage directions in the context of songs, speeches, and characterization. Min Tian399 Historically...

Zhengleibencao (Classified Materia Medica) had been formed into several kinds of edition systems during its dissemination, among which there was the edition system of Daquanbencao (Complete Collection of Materia Medica). Daquanbencao was originally carved in the Jin dynasty, thereafter it was re-carved in the Yuan, Ming and Qing dynasties so as to form a series of editions such as the edition of Zhenyou in the second year of the Jin dynasty; the edition of the Zongwenshuyuan college in Dade renyan year of the Yuan dynasty; the WANG Qiu's carved edition of Shangyitang hall in the Ming dynasty; the carved edition of Jishanshuyuan, the Jishang mountain college in the Ming dynasty, the reprinted edition of PENG Duan-wu in the Ming dynasty, the supplementary edition of YANG Bi-da in the Qing dynasty;, and the carved edition of KE Feng-shi in the Qing dynasty. Among all the editions, Chongkanjingshizhengleidaquanbencao (Reprinted Classified Daquan Materia Medica from Historical Classics) was the representative one. As a representative of the above editions, the carved edition of WANG took the edition of the Zongwenshuyuan college of the Yuan dynasty as the original edition, but the images picture of materia medica adopted from the edition of Zhenghebencao (Materia Medica of the Zhenghe era).

當前台灣地區寓言的研究仍是待開發的領域，就研究時代而言，大量研究者集中探討先秦諸子寓言，尤其是莊子寓言，其次是明清時期的寓言。就文體而言，散文寓言研究較普及，詩體寓言較少。其實中國寓言數量龐大、內容豐富，至今的研究只能算是冰山一角，還有許多亟待深入探索的領域，筆者擬以明末成書的擬人傳體寓言：《廣諧史》為研究對象，冀能投入寓言研究，繼續作挖深掘微的工作。 《廣諧史》一書編成於明代，為匯編性的寓言著作－－將各類物種擬人化，為之作傳的「擬人傳體寓言」，共242篇，數量龐大，內容豐富；作者上自唐代的韓愈（768－824年），下至明代陳詩教（1615年），綿延近八百年，作品形式相當一致，形成一種仿擬風潮，為何如此？引發研究動機，冀能探究這一系列寓言的價值與意義，追探各代擬人傳體寓言所欲表現的內容為何？是否為中國寓言史上另成系統的支派？其次，寓言往往透過迂曲的方式反映生活、批判時代、頌揚生命，我們是否能夠透過《廣諧史》的研究，體察文人對當代政治、社會的關懷為何？理解傳統中國文人的人生觀和用世襟懷？以上為本論文希望解決的問題。復次，解讀《廣諧史》的字面表層意義，並非最困難、最重要的部分，如何深入時代背景，透過對各寫作時代的文化剖析，追探《廣諧史》中作者寄寓的言外之意，深究其創作初心與社會意義，並藉此管窺中國文人創作擬人傳體寓言的意圖，此才是本論文最欲呈現的部分。 本論文的研究範疇包括寓言理論、作者人物傳記、文化史、政治史、制度史等；主要方法為傳記研究法、資料分析法。 論文內容分為七章：第一章說明研究動機、範圍和方法。第二章解釋擬人傳體寓言的定義，並簡要介紹擬人傳體寓言代表作《廣諧史》。第三章就形式結構追溯擬人傳體寓言的前有所承以及組構方式。第四、五章則分論唐、宋、元代與明代之擬人傳體寓言內涵寓意，這部分的寫作，並非筆者強作解人，穿鑿附會，乃根據《廣諧史》作者陳邦俊編意推敲尋思，有所本而得的結論。第六章討論《廣諧史》的藝術特色。第七章為結論。 研究結果顯示：陳邦俊編輯《廣諧史》的動機，至少包含諷刺明神宗萬曆皇帝荒政以及褒貶歷代政治得失兩方面；且《廣諧史》充分反映明人關心政治發展、明代文人思想深受儒學教育之影響、明代文學盛行擬古風氣以及明代文化繁榮等四方面現象。該書收錄的擬人傳體寓言形式，在世界寓言中是極為特殊的一支，文學價值應該超越高麗假傳寓言。其次，擬人傳體寓言多半在政治黑暗的時刻勃興，因此擬人傳體寓言富有反映社會的意義。至於《廣諧史》缺點則是各篇情節轉折雷同、典故重出少變化、主題嚴肅而侷限等落入窠臼的形式，造成紀曉嵐、林雲銘等文學家的誤解，以致歷來不受重視，甚且被人忽略。本論文的意義即在發潛德之幽光，冀能透顯廣諧史擬人仿作的創作意圖與編意所在。

As the first volume of a two-volume set that studies the ancient Chinese academy from a socio-cultural perspective, this title explores the history of the academy and its relationship with the development of Confucianism in the Song, Yuan, and Ming dynasties. Inaugurated in the Tang dynasty and eventually abolished in the late Qing dynasty, the academy, as a unique cultural and educational organization in Chinese history, exerted extensive and profound influences on ancient Chinese culture, politics, and social life. The book first revisits the inception and development of the academy by anaylzing the socio-cultural context and different driving forces including social mentality, print culture, education systems, and so on. It then examines the reciprocity and thriving relationships between the academy and Neo-Confucianism in the Song and Yuan dynasties and Yangming School of Mind in the Ming dynasty. The title will be a useful reference for scholars, students, and general readers interested in cultural history, intellectual history, and educational history of ancient China and especially the Chinese academy culture.

Provenance of the cobalt pigment used for Jingdezhen minyao blue-and-white porcelain in the early Qing dynasty

Classical Chinese literature exerts a powerful hold on readers and writers in later periods. The question of how earlier literature was preserved, classified, anthologized, and distributed is vital for understanding how authors defined their creative and interpretive endeavors during the Yuan, Ming, and Qing dynasties. Printing expanded, with a dramatic increase in numbers and variety in the sixteenth century. For many of the texts discussed in our volume, the earliest extant editions or reconstituted versions date from the Ming dynasty, and many important commentaries and annotations were produced during the late imperial period. Encyclopedias and collectanea show how tradition is repackaged. Political legitimation is bound up with state-sponsored comprehensive collections and encyclopedias. Anthologies of earlier literature and commentaries on them yield insights into literary trends in later periods. Primers and textbooks demonstrate the role of classical literature in acquiring basic linguistic and literary competence.

The long lost Story of Scholar Dong Meeting a Fairy, based on the legend of a cowherd and a weaver has found only six melodies in Jiugongzhongshi volume IX. The Story of Scholar Dong Meeting a Fairy, adapted by Xin Yizi early in the Ming Dynasty, and The Story of Brocade-weaving adapted by Gu Jueyu in the mid of Ming Dynasty, were all lost. Such espisodes as Huaiyinfengbie were included in selected collections of Ming and Qing Dynasties. During some grass-root interviews in recent years the author has found not only episodes of huaiyinji of Qingyangqiang, but also the full text Huaiyinshu of Wu Opera, Gangqiang and Dongyong of liyuanxi, Quanqiang. Comparing those discovered texts, the author confirms that they are really the descendents of Nanxi. These discoveries further verify the great popularity, the long history and the wide dissemination of Nanxi of the Song and Yuan Dynasties.

King Gongmin is evaluated as a king who has continuously promoted reform politics. On the other hand, He is evaluated as a king who played politics with close aides(側近 政治). The politics that employed Sin Don(辛吨) was also aimed at pushing for reform and on the other hand, it could be said that it was a politics of close aides. Such the politics of close aides can change as much as possible according to changes in domestic and foreign affairs, and King Gongmin is the king who often led such changes. Recognizing the situation in which the owner was changed from the Yuan Dynasty to the Ming Dynasty in the northern continent, King Gongmin changed the politics of Sin Don in one day by purging the politics of Sin Don as a traitor. There was also a lot of worries that the Ming Dynasty could invade Goryeo. In order to prepare for such a situation, King Gongmin re-appointed Military Party represented by Choe Yeong, who had been cut off from the political front during Sin don’s reign. At the same time, King Gongmin implemented measures to carry out important policies and tasks of the nation in Dopyeonguisasa(都評議使司) without concentrating power on a specific person. In addition, King Gongmin continued to promote king-centered politics by fostering and strengthening the body-guard organizations such as Jajewi(子弟衛") and Durisokgojeok(頭裹速古亦). In the process, if he did not like it, Munhasijung(門下待中)，the number one official, was also dismissed overnight. On the other hand, King Gongmin early decided on diplomatic relations with the Ming Dynasty as Toadyism diplomatic relations. The diplomatic relationship that King Gongmin sought to promote with the Ming Dynasty was not a subordinate relationship like the Yuan Dynasty, but a formal relationship between the Qi Lan and the Jin Dynasty. In the early days of diplomatic relations with the Ming Dynasty, King Gongmin’s goal was well achieved. However, as the Ming Dynasty secured influence in the Liaodong region, the situation worsened, and the Ming Dynasty made it difficult for King Gongmin, such as excessive intervention in the internal affairs and demanding a horse as a tribute. Nevertheless, King Gongmin tried to maintain diplomatic relations while almost accepting the unreasonable demands of the Ming Dynasty. Although not a direct cause, such a foreign policy is also linked to the death of King Gongmin. There was nothing in common with those who played a role in guiding diplomatic relations with the Ming Dynasty. the New Scholar-Officials, who actively advocated the pro-Ming and anti-Yuan diplomatic policy during the reign of King U, did not play a significant role in promoting the diplomatic relations with the Ming Dynasty.