Han Dynasty Research Articles

The Tricks of Jing (Jing jue 荆決): The Beginnings of jue 決/訣 as an Epistemic Genre

Abstract The Chinese genre of text named jue 訣 dates back to the Han dynasty. It encompassed esoteric Daoist manuals and medical handbooks, translated as “tricks,” “methods,” “instructions,” “secret instructions,” and “rhymes.” This essay translates “tricks” and “secrets” for its early use, referring to “writings” (shu 書) linked to privately transmitted technical information, such as divination tricks, alchemical techniques, or medical recipes. Initially, these writings relied on oral instructions and implicit knowledge (“orally transmitted secrets,” koujue 口訣). By the medieval period, as seen in the Dunhuang manuscripts, the link to exclusive oral instruction had weakened, and the jue genre evolved into “how-to” (hezhi 何知) manuals for quick reference in a broader body of formally transmitted texts, like “canons, scriptures” (jing 經). The jue genre began as rhematic (rather than thematic), specifying techniques or “methods” (fa 法), whether Daoist, medical, or divinatory.

Si Maqian's Sense of Revenge from the Biography of Wu Zixu

Abstract: In literary history, Si Maqian often appears as the image of a loyal and patriotic character who endures humiliation. The positive tendencies in his personal emotions are infinitely magnified under human control, but the negatively inclined emotions are always shunned because they do not conform to the Confucian laws used by the king for ruling. If we look at Si Maqian as a complete human being, it is impossible for him not to resent the fact that he was alienated by the king and tortured in the palace. This paper mainly discusses Si Maqian's sense of revenge as revealed in the Biography of Wu Zixu, and this study has made the character of Si Maqian more vivid and concrete, taking him away from the saintly state of melancholic concern for his country. It provides a more choice and reference for the future analysis of Si Maqian's authorship; it provides more possibilities for the future analysis of the cultural environment of the Han Dynasty.

Exploring the development of Chinese magic: take the Zoroastrian elements in unearthed artifacts as an example

This essay explres the developemnt of Chinese magic, specifically use the effect pf Zoroasteian element that developed in the illusions as an example. This essay highlighted the basic introduction of the chinese illusions from the Han to Tang Dynasties, and explained the reason why the self- injured performances is special from other illusions. The mian part of this essay is to challenge the common agreement in the academia about the time that Zoroastrianism was introduced to China during the Wei and Jin Dynasties, privide evidence to prove that ti is acutally came into China ealier in the Han Dynasty. The final part of this essay shows a usual process of foreign culture’s developemnt, which tansform from a formal ceremony to a entertaminet-purposed activity to make itself closer to publics.

Chengba: the Dangqu City of the Han Dynasty in south-west China

Abstract The Chengba site is the only city site dated from the late Warring States Period in eastern Sichuan Province, China. New discoveries of artefacts and structures at the site enable exploration of the regional role and management of counties that were established at this time by the central government.

Haihun Marquis Tomb in Western Han Dynasty: Social Value and Future Prospects - A Knowledge Graph Analysis with Citespace

This paper uses the CiteSpace knowledge graph visualization tool to analyze the research evolution path and trend of 583 academic papers in the CNKI database in the past ten years. The results show that the unique position of the tomb of the Haihun Marquis in the field of history and cultural heritage of the Han Dynasty, the mainstream of research in the field of Han Dynasty culture, artistic innovation and application, the evolution of cultural heritage research, and the interdisciplinary research of the deep integration of cultural heritage research and advanced technology in the future will provide strong support for promoting the cultural and museum industry and the recreation of traditional Chinese culture.

Material characterization of forged bronzes from ancient China (c. 11th-2nd century BCE) reveals development of the non-mainstream metalworking technique in Chinese bronze production

Although ceramic piece-mould casting was the dominant metalworking technique in the Chinese Bronze Age (c. 2100-221 BCE), the forging technique was also employed by craftsmen to pursue lightweight bronzes with thin walls and high hardness. However, compared to the ceramic piece-mould casting technique, research on forging technology is relatively limited. In this research, 48 sheet metal fragments of Chinese bronzes from different regions and periods (from the Zhou to Han dynasties) across China were analyzed by metallography, SEM-EDS, and hardness testing. The results show that craftsmen had a profound understanding of copper alloy properties and were able to produce thin-walled, functional artifacts by forging cast blanks with appropriate alloy compositions. With the development of forging technology and political changes, the types of forged thin-walled bronzes became more diverse, and their consumers expanded from the elite to civilians. This study not only reveals the material characterization of forged bronzes, but also elucidates the historical trajectories of forging technology and the multifaceted interplay between cultural influence, aesthetic pursuits and technological advancement in the development of forging techniques in ancient China.

THE ROLE OF THE GREAT SILK ROAD AND THE HISTORICAL DEVELOPMENT OF CHINESE AND CENTRAL ASIAN CIVILIZATIONS

This article reveals the role of the Great Silk Road and the historical development of Chinese and Central Asian civilization. Including the role of the formation and development of the Great Silk Road in the history of China, in particular, the efforts to develop this trade route during the Qin, Han, Ming and Qing dynasties. ‎

Subsistence strategies and climate change as key factors in the vicinity of the Great Wall in northern China from 500 BCE

Whether, and in what ways, the association between changes in climate and the shifting of imperial frontiers (i.e. the Great Wall) could be mediated by the social responses of major ethnic groups is a question that remains unanswered. Ulanqab is a region in Inner Mongolia associated with a long history of Great Wall construction from the Warring States to the Ming dynasties (~500 BCE–1644 CE) and the Great Wall is often regarded as the boundary of the Central Plains dynasty. This paper uses Ulanqab as a case study to investigate the historical inter-relationship between changes in climate and subsistence strategies on the one hand, and the positioning of the Great Wall on the other. We determined the precise geographical coordinates of the Great Wall in this region during each dynastic period of Chinese history, and compared its location to (1) the empire’s boundaries in each dynasty, (2) evidence that is available on climate change from high-resolution paleo-climate reconstructions and (3) subsistence strategies (whether agriculture, pastoralism, or nomadism) that people adopted as recorded in historical documents. Geo-referenced information from associated archaeological sites was also used to determine the extent of habitation in different areas. We found that during the period of agriculturalist empires (the Han and Ming dynasties), the Great Wall was a frontier between farming and animal husbandry, and was located to the south of the Daqing Mountains. In contrast, during the period of pastoralist empires (the Zhao Kingdom [of the Warring States], Northern Wei and Jurched Jin periods), the Great Wall was the frontier between animal husbandry and nomadism, and was located to the north of the Daqing Mountains. These mountains (42.5°N) seem to have been the northern limit of human settlements that were based on animal husbandry and farming. We observed that, when precipitation and temperature increased, this resulted in an augmentation of agricultural production that most likely facilitated the northward expansion of the agriculturalist peoples. A decrease in precipitation, on the other hand, resulted in the shrinkage of pastures and food, triggering a southward expansion that was characteristic of the pastoralist peoples. This study attempts to provide new insights into the interrelationships among changes in climate, human societies and geopolitics in Chinese history.

An Analysis of Chinese Narrative Poems from the Perspective of the Narrator, the Case Study of Han Yuefu Poems

This paper explores the narrative techniques in Han Dynasty Yuefu poetry, with particular attention to how the narrator’s perspective enhances both storytelling and emotional depth. Through the analysis of selected poems, it highlights how shifts between omniscient and limited perspectives enrich character portrayal and convey complex emotions. By placing Yuefu poetry within the broader tradition of Chinese literature, the study challenges the common perception that classical Chinese poetry is purely lyrical, suggesting instead that narrative elements play a crucial role. It argues for a re-evaluation of these poems, emphasising the interplay between narration and emotion, and how this contributes to the development of Chinese narrative art. Additionally, the paper considers how Yuefu poetry, with its distinct narrative strategies, laid important groundwork for later developments in Chinese literary traditions. This study underscores the importance of looking at ancient Chinese poetry from a narrative perspective, recognising its contribution to the evolution of storytelling in Chinese literature.

Exploring circulation dynamics in Han Dynasty China: insights from isotopic analysis of lead glazed pottery

This study investigates lead provenance and circulation patterns in Han Dynasty (202BC-220AD) China through the analysis of lead glazed pottery. Four objects were studied using a combination of typological study, elemental chemistry and lead isotope ratio analysis. The results for each object were compared with databases of ‘lead mining districts’ (lead deposits) and ‘lead usage districts’ (lead-containing artifacts unearthed in different spatial and temporal ranges) to assess the lead sources used for each sample and offers a spatial-temporal range of the use of these lead resources. Three distinct groups of lead and their possible circulating spatial-temporal scales are identified across six samples in this study. A possible change in lead supply networks between the Western Han Dynasty (202BC-9AD) and the Eastern Han Dynasty (25AD-220AD) is proposed. This study also highlights the probable changes in the movement of lead resources from the Western Han Dynasty to the Tang Dynasty (618AD-690AD), suggesting improvements in long-distance transport capabilities, and the development of economic divisions and exchange connections in ancient Chinese society. Our findings contribute to a deeper understanding of the economic and political dynamics during the Han Dynasty and emphasize the significance of lead isotope analysis of glazed pottery in exploring resource movement.

Inheritance, Swerving, Tuning and Complementing: The Flux of Qu Yuan's Cultural Image in the Han Dynasty

Abstract: The study of Qu Yuan has always been a key topic in Chuci, and since Wang Guowei's study in 1906, Qu Yuan's image and works has been continuously excavated in different periods. Being widely eulogized at that time, the discussion and compilation of Qu Yuan's cultural image by the rulers and scholars of the two Han Dynasty gave Qu Yuan a unique cultural connotation, and they jointly compiled a unique "Qu Yuan" belonging to the Han Dynasty. Against the background of the emergence of a new era of cultural study, the reinterpretation of the cultural image of historical figures in ancient China can contribute to the restoration of a more authentic history and culture. Hence, analyzing the flux of the cultural image of "Qu Yuan" in the two Han dynasty can clarify the cultural concepts promoted in different eras of the Han Dynasty and the overall historical tendency of its development.

A brief overview of the unearthed “Analects” documents in East Asia over the past 50 years

From the perspective of newly unearthed inscriptions of the “Analects” of Confucius in East Asia over the past 50 years, it can be seen that it is a “living” text (活体) or “hypertext” (超文体) that is constantly developing and changing in time and space, often filtered and reconstructed due to subjective and objective needs. By the middle of the Western Han Dynasty, the differentiation and standardization of the “Qi Analects” (齐论语), “Gu Analects” (古论语), and “Lu Analects” (鲁论语) had not been completed, indicating that the compilation of the “Analects” had not been finalized. With the expansion of the Han and Tang empires and external exchanges, the “Analects” had spread to regions such as the Western Regions, Xinjiang, and Yunnan, as well as the Korean Peninsula and the Japanese archipelago. This also marked the gradual formation and establishment of the East Asian Sinicized cultural sphere centered around Confucianism and its ideological concepts with the “Analects” as the core.

Identification of Z Cam’s Historical Counterpart: The Quest for an Ancient Nova

Abstract In recent astronomical discussions, attempts have been made to link the known dwarf nova Z Cam to historical celestial events, particularly the ”guest star” phenomenon reported in China in 77 BCE. Despite other suggestions and the problems with regard to the location of the event in 77 BCE, its identification with Z Cam is used in the Variable Star IndeX (VSX) of the AAVSO and in several research papers that aim to derive knowledge on the evolution of cataclysmic variables. Through the reconstruction of the super-constellation of the Purple Palace in the Han Dynasty, we found that Z Cam is actually located outside this enclosure, contradicting the records of the 77 BCE guest star being ”within the Purple Palace”. With newly found text versions of the guest star in 77 BCE, we narrowed down the position given therein. Combined with a new analysis of accompanying divination text leads to the conclusion that this guest star was actually a comet. Finally, through meticulous examination and comparison, we conclude that the guest star of 369 CE appears the most plausible candidate for Z Cam’s historical counterpart, aligning with both textual evidence and modern astronomical observations.

Dramatic Scenes and Monstrous Animals: On the First Exhibition of Chinese Art in the USSR

This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition’s perception in the Soviet Union was rather contradictory. The reasons for that could be found in the ongoing Soviet artistic discourse and preconceived vision of Chinese art. Based on archival materials, this study reveals the process of the exhibition’s organization and focuses on the image of China and Chinese art constructed by its curators. Additionally, this article examines the reception of the show by both professional and mass Soviet audiences in conjunction with the Soviet ideology towards fine art, foreign art exhibitions of the 1930s, and existing narratives on China, which shaped the optic of Soviet visitors.

Extraction of deterioration and analysis of vegetation impact effects on the south palace wall of Weiyang Palace

Weiyang Palace, the royal palace of the Western Han Dynasty, is a part of the Silk Roads: the Routes Network of Chang’an-Tianshan Corridor on the World Heritage list. The south palace wall of Weiyang Palace is a well-preserved earthen heritage site within the palace, but it is undergoing continuous deterioration due to the influence of vegetation and external environmental factors. This study pioneers the integration of high-resolution three-dimensional LiDAR scanning with multi-source data analysis, including unprecedented on-site botanical surveys, to explore the subtle effects of different vegetation types on the structural integrity of the south palace wall. Through contour line analysis and facade grid analysis, we extracted the deterioration locations of typical sections of the earthen heritage sites. And we classified the overlying vegetation types on the wall using an object-oriented classification algorithm. Our findings reveal a complex interaction between vegetation and earthen structures: paper mulberry exhibits protective qualities against erosion, while Ziziphus jujuba significantly exacerbates structural vulnerabilities. The methodologies applied in this study for extracting deterioration at earthen heritage sites and integrating multi-source spatial data can serve as a technical application model for monitoring and analyzing the driving forces of earthen heritage sites along the entire Silk Road network, thereby better guiding the conservation of earthen heritage sites.

Research on the Academic Inheritance of the Traditional Performance of Hilgasan Khuur

Shen Kuo, a scholar in the Northern Song Dynasty, wrote in Mengxi Bi Tan: "The Hilgasan Khuur follows the Han Dynasty, and the music still complains about the Chanyu." This is the earliest record of the term Hilgasan Khuur in history books. Hilgasan Khuur refers to bowed string instruments made of Hilgasan and carried by northern nomadic peoples. It originated from the Xiongnu and has been passed down to this day. The traditional Mongolian bowed string instruments such as the Morin Khuur, Khorchin Choor, Chahar Hiil, and OirdsYekel all belong to this category. As a bowed string instrument that has been passed down for thousands of years and carries a profound historical and cultural heritage, the inheritance and protection of the traditional playing method of the Hilgasan Khuur faces the impact and challenges of the development of modern music. This article summarizes the artistic characteristics of the four tuning methods, four playing methods and related traditional repertoires of the four instruments of the Hilgasan Khuur. By analyzing the history and current situation of the academic inheritance of the Hilgasan Khuur, it reveals the advantages and challenges of the academic inheritance. It emphasizes that under the background of national policies and the protection of intangible cultural heritage, promoting the academic inheritance of the traditional playing method of the Hilgasan Khuur has far-reaching significance for protecting the musical diversity of the Hilgasan Khuur and promoting national traditional culture.

Analysis of the Contemporary Inheritance Form of Music and Dance Culture in Tang Dynasty

Tang Dynasty music and dance is the essence of ancient Chinese music and dance, which was popular in the Sui and Tang Dynasties. It gathered and sublimated the essence of music and dance art from the Han Dynasty. The study starts from the fields of modern creation, painting art, and Application of Graphic Design of Tang Dynasty music and dance, explores the cultural content it excavates and the artistic form it presents, and the new artistic value of Tang Dynasty music and dance culture.

A Study on Metallurgical Artifacts Excavated from Luojiaba Site H235 in the Eastern Sichuan Region during the Eastern Han Dynasty

Currently, research remains limited on ironworking workshops in China and even throughout East Asia. The discovery of Luojiaba Site H235 in 2021 provides significant new material on this issue. This paper comprehensively organized the metallurgical artifacts and employed technological methods such as XRF and SEM-EDS to analyze the slag and hammerscale excavated from Luojiaba Site H235. First, the chemical composition and microstructural phases of the slag were analyzed, with an examination of the hammerscale. Second, the processes leading to the formation of slag and hammerscale are discussed. Third, based on the scale of the site, the chemical composition, and the characteristic shapes of the slag, combined with Serneels’ theoretical framework for quantitative analysis of forging slag, the slag unearthed from Luojiaba Site H235 was tentatively categorized as forging slag. This suggests that the workshop primarily produced or repaired iron objects through forging. Finally, considering the furnace shapes observed at contemporary sites and discussions on the potential sources of iron materials at the Luojiaba site, speculations are made regarding the furnace structure at the Luojiaba site and the possible origin of its iron materials. Unlike ironworking workshops at other contemporary sites, the location of the forging workshop at Luojiaba Site H235 presents a distinctly different choice, situated within a village or town during the Eastern Han Dynasty. This choice of location may reflect a phenomenon closer to consumer proximity. Therefore, analyzing metallurgical artifacts unearthed from Luojiaba contributes to understanding the operation of ironworking workshops and the distribution of resources in village-level settlements in the eastern Sichuan region during the Eastern Han Dynasty.

Exploration of Historical Sites of Art and Culture Exchange on the Silk Road of Pre-Qin and Han Dynasties

Abstract The pre-Qin and Han Silk Road opened up the Central Plains Dynasty to the Eurasian- African continent, not only having extraordinary political, economic and cultural exchanges complementary strategic significance, but also becoming an irreplaceable important window and way for the Central Plains Dynasty to gain cognitive knowledge of the broader world. In particular, the exploration of the artistic and cultural relics and historical background of the Silk Road is a deep excavation and collation of historical materials of exchanges between the East and the West, especially between China and the nationalities in the Western regions in the fields of traditional politics, commerce, economy, art and culture. This depth of excavation and collation of historical materials, so as to clarify the origin of the Silk Road under different historical conditions and the background of its political, economic, art, and cultural significance in forming the civilisation of the countries along the route. This mutual understanding among various nationalities inevitably promotes the shared development of Eastern and Western civilizations. Therefore, the topic discussed in this paper is a retrospective and complementary approach to the Silk Road as a distant civilisation. This exploration is also another purposeful search for the roots of this road, which was known as the “Journey of Adventure” and “Journey of Intercommunication” from the pre-Qin Dynasty to the two Han Dynasties. Accordingly, this paper promotes the discussion from three aspects: the long historical context of the Silk Road, the channel of multi-ethnic art exchange constituted by Silk Road, and the exchange and dissemination of handicraft culture on the Silk Road, excavating these three rich historical materials is more in order to reveal the historical values of the Silk Road.

Han Dynasty Portrait Image Feature Extraction and Cloud Computing-supported Symbolic Interpretation: A New Approach to Cultural Heritage Digitalization

The study introduces the Cloud Computing-based Cultural Heritage Digitization (CCBCHD) framework, a groundbreaking approach that utilizes advanced convolutional neural networks (CNNs) and transfer learning techniques for digitizing and analyzing Han Dynasty portraits. This innovative method addresses the challenges associated with extracting features and symbolically interpreting these culturally significant artworks. CNNs play a crucial role in the CCBCHD system, enabling the efficient extraction of complex features and patterns inherent in the Han Dynasty portraits. These features are essential for understanding the historical and cultural context of the artworks. The integration of transfer learning is another pivotal aspect of this framework. It allows the model to leverage pre-existing knowledge from extensive image datasets, thereby enhancing the accuracy and efficiency of the system in recognizing and interpreting the unique characteristics of these portraits. Moreover, the incorporation of cloud computing within the CCBCHD framework provides scalable computational resources. This scalability is vital for handling extensive data processing and enables real-time analysis, a critical factor in the digitization process. The synergy of deep learning with cloud computing not only ensures precise feature extraction and interpretation but also plays a significant role in preserving and making cultural heritage accessible in the digital domain. This accessibility is particularly important for artworks like the Han Dynasty portraits, which hold immense historical and cultural value. In essence, the CCBCHD framework represents a significant advancement in the field of digital preservation of cultural artifacts. It offers a solution that is not only scalable and efficient but also intelligent, ensuring that the rich legacy of cultural heritage can be preserved and appreciated in the digital era. By adopting such technologies, the study underscores the potential of AI and cloud computing in transforming the ways we preserve, study, and interact with cultural heritage, opening new avenues for exploration and understanding in the realm of art history and conservation.