Chinese Tradition Research Articles

Autobiographical motifs in the "silent books" of contemporary Chinese artists (using the example of Sean Tan and Guojin)

The object of the study is “silent books” – books without text; the plot and author’s position are revealed exclusively through a sequential series of illustrations. The subject of the study is the graphic novels of young but already internationally recognized authors – Sean Tan and Guojin. "Silent books" are a relatively new direction in children's book illustration. The prototype of “silent books” – comics – was distinguished by rather primitive graphics, so although they were popular, but they were considered a “low genre” in the professional community. Then the comic went beyond kitsch culture and became an element of middle-class culture, and at the end of the century the comic was reinterpreted in pop art and included in the formation of neo-elite culture. The individuality of the authors is manifested in the choice of a plot related to personal and family history, as well as in the choice of a character of a certain psychological make-up – “silent heroes”, endowed with a rich imagination, the ability to empathize and equal friendly relationships. The technique in the “silent books” of Sean Tan and Guojin has the syncretism and dualism of Western and Chinese traditions. It can be interpreted both in terms of Chinese writing with “dry” ink, and in the European style of “chiaroscuro”; in all cases we had clearly defined contour and a sharp contrast of light and shadow. The author's self-expression in a graphic novel is very specific to book illustration. “The Quiet Book” can be considered as a special type of author’s utterance, similar to improperly direct speech in literature. All this distinguishes the graphic novels under consideration from other forms of children's book illustration, as an example of new paths in art, as well as an original and modern interpretation of social problems of society.

Folk music: the bedrock of Chinese cultural traditions / Música folk: fundamentos de las tradiciones culturales chinas

Folk music is an integral part of any national art and contributes to the cultural development of each country. This paper is aimed at studying aspects of Chinese folk music, which is the bedrock of Chinese cultural traditions. This paper conducted a sociological survey of 142 students in their third year of study. The results showed that 37% of the respondents believe that traditional music is a folk art passed down from generation to generation. The most important function of folk music, according to students’ opinions, is the preservation of cultural traditions based on historical events (27%). Due to the fact that respondents perceive folk music as the most harmonious in piano instruction (36%), the tools for its integration in piano lessons have been developed. These tools include selecting a music platform, providing theoretical information in the public domain, developing improvisation skills based on folk compositions, using online platforms to share experiences and knowledge between students and teachers and analysing contemporary Chinese compositions. In addition, all mentioned applications have been tested to measure their effectiveness. The best results of using folk compositions in piano instruction were achieved in group #5 (100%), which can be explained by knowledge gained in the first and second terms.

From Traditional to Digital: Children’s Learning of Traditional Chinese Culture Through Festival-Related Storytelling

Multimedia technology is a potentially efficient supplementary storytelling strategy. However, the effectiveness of multimedia storytelling for teaching about traditional festivals is unknown. We compared the effects of traditional storytelling (TST) and multimedia digital storytelling (MDST) on learning achievements, attitudes, and preferences towards studying traditional Chinese festivals. A quasiexperimental intervention (8-week lessons about two festivals) was conducted with experimental and control groups of 58 third graders from Guangdong Province, China. We found MDST increased children’s learning outcomes and preferences towards learning about Chinese festivals. The MDST group showed larger gains in academic performance than the TST group–although they showed similar positive effects, they were more pronounced in the MDST group. Overall, MDST has substantial potential learning benefits, and multimedia digital technology can effectively stimulate students’ interest in learning about Chinese traditions and culture. The implications of using MDST for traditional culture and festival education and future research recommendations are discussed.

The relational love in the dialogue between Lutheran theology and Chinese traditional religions

AbstractThe concept of love occupies a central position not only in the Lutheran–Augustinian theology of justification and sanctification, but also in some traditional Chinese religions such as Confucianism, Buddhism and Taoism. For the Finnish interpretation of Luther's theology, a range of pivotal concepts such as two kinds of love, union (participation), gift, favor, unifying power, as well as the real‐ontic presence in faith act a fundamental role in addressing the doctrine of justification and divinization. As a new research approach, the formulation of unio cum Christo in Spiritu sancto develops Tuomo Mannermaa's interpretation of in ipsa fide Christus adest thus opening a new dialogue with the relational creativity of love in Chinese Tao‐Qi framework. While the ontological presuppositions of these two religious traditions are different, the relational love can be explored as a new conceptual model for deepening the theoretical communications between Lutheran theology and Chinese faith traditions.

Accommodation and Compromise in the Contact Zone: Christianity and Chinese Culture in Modern Hong Kong Literature

Situated in the unique historical context of Hong Kong—a contact zone between East and West—this study explores how Christianity’s introduction through British colonialism and missionary efforts has intertwined with and influenced Chinese cultural traditions. By examining selected works of Xu Dishan and Chen Zanyi, this study reveals the dynamic negotiations of identity and values between these two cultural and religious traditions. These literary works not only depict the complexities of cultural hybridity but also provide insights into the evolving nature of cultural identity in Hong Kong, illustrating how global religions and local traditions can merge and transform each other. This study contributes to understanding the intricate dance of religious exchange, conflict, and compromise in Hong Kong’s cross-culture setting, suggesting that such literary explorations can bridge Christianity with the socio-economic, cultural, and historical fabric of Chinese society.

Subtitle Translation of Chinese Elements in View of Cultural Translation: A Case Study of Ne Zha: I Am the Destiny

Guided by Bassnett’s cultural translation theory, this paper probes the strategies and methods used in subtitle translation of film and television productions containing Chinese elements. Taking the translation of lines from Ne Zha: I Am the Destiny, it analyzes the language expressions of Chinese tradition and categorizes the methods of dealing with cultural elements in the translation process. The aim is to elevate the translation quality of film subtitles from a cultural perspective, facilitating better communication between the original-language films and target-language audiences, and promoting cross-cultural exchanges.

‘The balance is a forever moving one’: Chinese women entrepreneurs’ politics of reinscription when encountering nonhuman agents of control

ABSTRACT Entrepreneurship is often associated with masculinity as well as symbolic and actual male bodies, which creates discursive and material constraints for women entrepreneurs. This study synthesizes an intersectional reinscription analysis and new materialist approaches to agency to explore 34 mainland Chinese women entrepreneurs’ identity construction or boundary-makings in and beyond their work encounters with various actors. Materializing through participants’ narratives are abstract, intangible ‘ideas/ideals’ that become real ‘things’ capable of stirring/halting/altering women’s entrepreneurial activity, including ‘the feminine,’ ‘family harmony,’ ‘stable job,’ and ‘Chinese traditions.’ Already within and as open-ended relations, these nonhuman agents also get reconfigured in encountering women’s entrepreneurial enactments, whereby situated systems of power (apart from gender and occupation) also arise. Practically, this study maps potential sites of intervention in gendered entrepreneurship ecosystems and highlights cultural, work-life, and political insights shown through participants’ boundary-making practices.

Cultural Comparison between Argentine Yerba Mate and Chinese Tea

As a social phenomenon, tea culture is the product of long-term formation. The fine Chinese tradition has nurtured the rich Chinese tea culture. The Argentine yerba mate has also been endowed with profound cultural connotation and emotional value in the development of history. Although there are differences between Chinese and Argentine tea cultures in terms of origin, drinking methods and social functions, they all reflect the cultural characteristics and historical heritage of their respective countries. By reviewing the development and evolution of Chinese and Argentine tea cultures in different historical backgrounds, this paper discusses their social values and spiritual connotations, with a view to promoting intercultural communication and understanding.

Confucius’ Trap?

The rise of the People’s Republic of China has spurred research into whether this rising power will end up colliding with the United States, following a pattern that Graham Allison has called Thucydides’ Trap. However, some of these studies depart from the idea that the State is a unified actor and that conflict is inherent to the international system. In other words, China will behave in the same manner as all western powers on the international stage. This article will sustain that it is impossible to analyse and/or infer the potential conduct of the People’s Republic of China without grasping its over 2000-year’s cultural heritage. The legacy of Confucianism enjoyed a rebirth in the People’s Republic of China since the 1990s. In this sense, the theoretical tool of constructivism is used to study that legacy and its impact on Chinese strategic thinking, which is also linked to Chinese traditions and can be observed in the dynamics of Wéiqí: the weakening of the adversary in order to obtain greater territorial control. To that effect, we observe how investment, trade and cultural penetration by China into the world has evolved in the last few years.

A Chinese military history: comparison, critique, and methodology1

Until recently Western military history has concentrated on battles, technology, and the biographies of great generals. The roots of this tradition of history writing lie in the Ancient Greeks and this orientation has carried through to the present. Military historians studying other cultures, like China’s, have usually tried to make very different traditions of commemorating war match or fit into the Western tradition. Although there is no established Chinese tradition of military history writing, an implicit tradition embedded in its extensive historiography suggests an emphasis on conflicts between military systems rather than specific weapons, battles, or individuals.

한국전통혼례과정의 대례행례고(考)

The purpose of this study is to examine the inherent meaning of the structure and ritual of Haengrye (An Act of Conducting a Ceremony) of Daerye, in the traditional Korean wedding ceremony process. ‘Daeryehaengrye’ refers to Chinnyeong (親迎, Bridegroom Personally Inducting the Bride into His Home), one of the rituals, Uihon-Napchae-Nappye-Chinnyeong, in Karye of Seongni daejeon (Great Collection of Neo-Confucianism). For the purpose of the research, the changes in the wedding institution were first examined, followed by an exploration of the inherent meaning of structure and ritual of Daeryehaengrye. The examination of the changes in the Korean wedding institution revealed that the traditional Korean wedding system was Seoryubugahon persisting from the Three Kingdoms period (Samguk) for over 1000 years. The traditional Korean wedding ceremony was ritualized, influenced by the Chinese wedding ceremony tradition of ｢Karye(嘉禮)｣ passed down from ancient times to the late Joseon Dynasty. The analysis of the inherent meaning of the structure and ritual of Daeryehaengrye reveals that it consists of three main parts: Jeonanrye(奠雁禮), Kyobaerye(交拜禮), and Hapgeunrye(交拜禮). Jeonanrye involves conducting a ceremony with a goose as a symbol, wherein the groom makes a promise to the bride. Kyobaerye includes the first formal big bow, conduct Jaeju(祭酒), and the drinking of the rice wine. Yi Hwang introduced Kyosoorye(交手礼) between Kyobaerye and Hapgeunrye. There are three methods of bowing in the first formal big bow. Of these, the method where the bride first bows four times and then the groom responds with bowing two times aligns with the custom where men with two bows and women with four bows are considered propriety, although it is only found in only 12 out of 65 surveyed books of propriety (18%). The positioning of the bridegroom and bride was predominantly Seodongbuseo(壻東婦西). However, the reason for this ‘Seodongbuseo’ positioning can be seen as a horizontal shift of the bridegroom and bride's positions during Dongrweyeon of Karye. On the other hand, positioning them in Seoseobudong can be attributed to a vertical shift according to the female-centric wedding customs in Korea. Jaeju(祭酒) is the most crucial ritual in Daeryehaengrye. It can be seen as an act formed through the ethos and thought process of Koreans. It is an act of praying to the heavens and earth by a person of high virtue or the marriage officer in the process of a wedding ceremony. Initially performed by clan elders or village leaders then by family elders, it is assumed to had evolved to be performed by the bridegroom and bride. Hapgeunrye is an oath ceremony. There are various methods of Hapgeun, but when drinking rice wine, pouring it and each drinking it was considered symbolize the essence of mutual exchange. Thus, they do not exchange the Hapgeun gourd. While some Koreans in the modern age may hold negative views on traditional wedding ceremonies, there is a high level of pride in Korean culture. To preserve and uphold the wedding ceremonies designed in Korean way, it is essential to standardize the rituals and meanings of Daeryehaengrye, thereby ensuring that traditional Korean wedding ceremonies continue with a theoretical framework.

The Possibility of Returning to Experience: The Essence of Philosophical History in Chinese Philosophy and Its Reflection

The Chinese construction of the science of philosophy takes as its basic form the narrative of the history of philosophy. The introduction into Chinese philosophy of the normative character of philosophy and its problem framework via the narrative of the history of philosophy has to some extent enabled the practice of philosophy to remain separate from the norms and methods of traditional Chinese thought. Philosophical norms and problem frameworks from the West have changed the happenings of the historical world towards the eternal Dao of the classical world into intellectual texts, and have transformed the situationbased expressive strategy that develops the principles of things in the world of concrete experience into concepts and categories. As a consequence of these two positions, the ground of Chinese philosophy, based as it is on the history of philosophy, may not only be separated from the everlasting world of experience of the classics, but may also be divorced from the present experience of the modernization process. If we start from an analysis of the historicity of the Chinese intellectual tradition and its classical character, Chinese philosophy has obtained the possibility of returning to experience by means of parsing jishi yanli, a way of thinking that uses the investigation of things to fathom principles. The pathway of integrating philosophical thinking and experience will enhance and stimulate the contemporary value of the classics. More importantly, regarding the unique methods and strategies of expression in traditional Chinese thought as a general philosophical approach can facilitate the promotion of the construction of a world philosophy oriented toward current experience.

The influence of the ideas of Lao Tzu, Sun Tzu and Shen Buhai on the formation of management practices in ancient China

The subject of this article is the principles of management formulated on the basis of ancient Chinese philosophy and psychology, as well as their difference from European management models. The paper explores how the ideas of such thinkers as Lao Tzu, Sun Tzu and Shen Buhai influenced the formation of management practices in ancient China. Special attention is paid to the Taoist approach, which is based on the principles of "non-action" and the hidden influence of the leader, which is opposed to the European traditions of demonstrating power through public events. The article also analyzes how these philosophical approaches can be relevant in the modern world, especially in the context of intercultural interactions and globalization. The study shows that Chinese management principles can contribute to the development of flexible and effective management models adapted to the cultural characteristics of different regions. The research methodology is based on a comparative historical analysis of the philosophical and psychological principles of management in the Chinese and European traditions. The approach of analyzing ancient Chinese treatises is used. The scientific novelty of the research lies in the comparative analysis of the principles of management in the Chinese and European traditions, which is rarely covered in modern management science. Special attention is paid to the Taoist concept of "non-action" and the hidden influence of the leader, which is opposed to Western models based on the demonstration of power through public actions. The article shows that Chinese management ideas, despite their ancient origins, have significant value today, especially in the context of globalization and growing interest in alternative approaches to management. The conclusions emphasize the relevance of applying the philosophical foundations of Taoism to create a harmonious, nonviolent management style in modern organizations, which can help improve the effectiveness and adaptability of leadership, as well as reduce tension and conflict in work processes.

Полигенетическая природа поэтики К.Д. Бальмонта и культурные традиции древнего Китая

The article discusses the polygenetic nature of K.D. Balmont's poetics on the basis of underinvestigated materials related to ancient Chinese cultural traditions by using the principles of comparative studies, historical poetics, hermeneutics and the mythopoetic method. The object of the analysis is the “Chinese” cycle, consisting of five sonnets included in Balmont's collection of poems “Sonnets of the Sun, Honey and Moon. Song of the Worlds” (1917). Special attention is paid to the analysis of the mythological images, motives and plots in these poems, identifying their sources and revealing the poet's creative intention. It is taken into account that S.M. Georgievsky's book “Mythical beliefs and myths of the Chinese” (1892) had a significant influence on Balmont's perception of Chinese mythology and it is an important basis for the creation of these sonnets. It is claimed that the source of this cycle is the Chinese treatise “Huainan Tzu” (Philosophers from Huainan, no later than 139 BC), which is essentially a Taoist philosophical work. It is noted that Balmont's reference to “Huainan Tzu” testifies to his continuing attention to Taoism, which turned out to be one of the main sources of the poet's spiritual exploration. The theme of the Eternal Femininity in this cycle is considered as a point of contact between the Silver Age culture and ancient Chinese culture, primarily Solovyov's doctrine of Sophia and Lao Tzu's philosophy. It is concluded that, firstly, Balmont's sonnets can be perceived not only as an attempt to stylize ancient Chinese myths, as researchers often assume, but also as a phenomenon indicating the transformation of the semantics of the myth created by the poet and its deepening on the basis of mythological traditions of ancient China. Secondly, the use of common motifs in Eastern and European mythology and the combination of Chinese mythology with the European poetic form reflects the polygenetic nature of Balmont's poetics and the contamination of traditions.

习近平新时代中国特色社会主义思想世界观和方法论的形成逻辑、科学内涵与实践要求探析

Worldview and methodology are philosophical propositions. The proposition of “Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era, Worldview and Methodology” marks the in-depth philosophical thinking of the Chinese Communists. This is undoubtedly the sinicization of Marxism and the excellent Chinese tradition. The latest theoretical exploration of cultural modernization is a distinctive theoretical feature that makes China more Chinese. It proposes methods and implementation principles such as “two combinations” and “six musts” to promote the theoretical innovation of Chinese modernization. This article attempts to explore the formation logic of the worldview and methodology of Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era, grasp its scientific connotation, and deeply understand the principal path of theoretical innovation, in order to consciously use the worldview and methodology of Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era to guide practice.

Dark tourism goes underground: ghostly materialities of Japanese occupation in Datong, China

In north China, memorial museums are often associated with the suffering of victims of the Japanese occupation during the Second Sino-Japanese War (1931-1945). The Datong Coal Mine Massacre Site Memorial Hall affords visitors opportunity to bear witness to atrocities at the hands of the occupiers. At the 10,000 men pit (wanrenkeng), where over 60,000 miners perished, visitors gaze at the corpses of dead miners in two deep pits, at harrowing photographs of excavated remains and at unnamed spirit tablets in the memorial hall and on the hillside above. The research brings together the spectrality of absent presence with the Chinese tradition of hungry ghosts as social actors. Referencing the newly available North China Railway Archive of photographs taken by the Japanese of everyday life on the Datong coalfields, read through a lens inspired by Georges Didi-Huberman, we aim to enrich the state-authorised narrative of victimization and humiliation with narratives of individual people. The photographs summon the survival, or afterlife, of those depicted, sometimes smiling into the camera. We suggest that the photographic archive may afford identification of miners, enabling their lives to be honoured as well as mourned and their ghosts to be appeased. Collaborative development of a traditional Hungry Ghost festival could fold memorial sites together with intangible cultural heritage to offer visitors opportunity to commemorate both death and life through integrating history with culture.

Syncretism in Exegesis: The Integration of Confucian Texts in Chengguan’s Huayan Commentary

Commentarial literature constitutes a cornerstone in the edifice of Chinese Buddhism, providing critical exegesis of Indian Buddhist texts. This paper examines the pivotal role of Chengguan (738–839), the fourth patriarch of the Huayan school, revered for his extensive commentarial work on the Chinese translations of the Buddhāvataṃsaka-sūtra. Chengguan not only composed a written commentary but also engaged in discourses with the monastic and lay communities at Wutaishan, prompting the creation of a sub-commentary derived from these oral elucidations. The study posits that the composition of Chengguan’s audiences, comprising Confucian-educated scholars and Buddhist monks, necessitated a pedagogical strategy that integrated Chinese intellectual traditions into the Buddhist narrative to enhance comprehension. This analysis focuses on Chengguan’s citations of the Analects, showcasing how he interweaves Confucian maxims into the fabric of his commentary to illuminate Buddhist doctrines. The research articulates the method he employed to make the Buddhist texts resonate with a Chinese audience.

The Study of the Qing Dynasty Yanyanyue

During the Qing dynasty, Yanyan Yue served as a backdrop to court ceremonies and a dynamic platform for cultural diplomacy. Innovations in banquet music during this period reflected a blend of Han Chinese and Manchu traditions, allowing the Qing court to celebrate its grandeur and sovereignty through these musical expressions. This paper summarizes the evolution of Yanyan Yue, especially the development of Yanyan Yue in the Qing Dynasty, and combs the composition of the musical instruments of Yanyan Yanyan Yue. The purpose is to illustrate the national development and integration in the Qing Dynasty through the changes in musical instruments.

Женские образы пьесы А. Н. Островского «Гроза» в переводческой рецепции Гэн Цзичжи

The aim of the research is to identify the peculiarities of perception and reconstruction of the female characters of A. N. Ostrovsky’s play “The Storm” in the first Chinese translation of the play by Geng Jizhi, a literary scholar and translator. Through the comparative analysis, the translation strategies are determined, taking into account the peculiarities of the translator’s perception and interpretation of the female characters. Among them, Geng Jizhi’s interpretation of Katerina’s image is particularly concerned, which has affected the view of Chinese scholars on Katerina’s image, that is, she is a strong character with a “storm” personality. The scientific novelty of this research lies in the fact that it is the first to specifically study the translation reception of the play “The Storm” in China and to consider the peculiarities of the female characters’ perception and recreation in Chinese. The research reveals that the translator hopes to retain the national color of Ostrovsky’s play and reproduce the characters’ speech, behavior and their personality traits. But at the same time, in Geng Jizhi’s translation, Kabanova’s and Varvara’s characters are more introverted and Feklusha’s comic features become less obvious. The translator carefully reproduces the poetic and picturesque monologues of Katerina in the first few scenes of the play, but with the development of the conflict, he shortens the lyric fragments, changes the tone of the lines and thus creates a more resolute and strong character. The Chinese translator’s understanding and reconstruction of the female characters in Ostrovsky’s play are influenced by the linguistic features of the original work, Chinese cultural traditions and the necessity of adapting texts for stage performances. The interpretation of Katerina’s image is influenced by N. A. Dobrolyubov’s interpretation of her figure and the history and literary situation of China, which needed strong and active protagonists in artistic works.

The function of timbre in the perception of affective intentions: Effect of enculturation in different musical traditions

Timbre has been identified as a potential component in the communication of affect in music. Although its function as a carrier of perceptually useful information about sound source mechanics has been established, less is understood about whether and how it functions as a carrier of information for communicating affect in music. To investigate these issues, listeners trained in Chinese and Western musical traditions were presented with Phrases, Measures, and Notes of recorded excerpts interpreted with a variety of affective intentions by performers on instruments from the two cultures. Results showed greater accuracy and more extreme responses in Chinese musician listeners and lowest accuracy in nonmusicians suggesting that musical training plays a role in listeners’ decoding of affective intention. Responses were more differentiated and more accurate with more musical information. Excerpts were also analyzed to determine acoustic features that are correlated with timbre characteristics. Temporal, spectral, and spectrotemporal attributes were consistently used in judging affective intent in music, suggesting purposeful use of these properties by listeners. Comparison between listeners’ use of acoustic features reveals a greater number of shared features between Western musicians and nonmusicians compared to Chinese musicians for valence, although the three groups shared more features for arousal. How timbre is utilized in musical communication appears to be different across musical traditions, and valence responses seem to be more culture-specific and arousal responses more similar across cultures.