Song Dynasty Research Articles

Lagrange-enhanced GRA method for probabilistic simplified neutrosophic MADM: Yaozhou porcelain decoration design quality evaluation

Yaozhou ware is located in Huangbao Town, Tongchuan City. It began in the Song Dynasty and flourished in the Tang Dynasty. Its warm and jade like glaze color, exquisite decorative techniques, and rich and varied utensil shapes all give it a very important position in history. The traditional Yaozhou porcelain contains the ancient people’s concept of creation and their attitude towards humans and nature. Each artifact of Yaozhou porcelain contains the designer’s understanding and emotions about the world, establishing a dialogue between people and objects to form a desired lifestyle. The production method of Yaozhou porcelain that has been preserved for thousands of years shares many similarities with modern design ideas. The quality evaluation of Yaozhou porcelain decoration design is viewed as multiple-attribute decision-making (MADM). The grey relational analysis (GRA) is a useful tool to cope with the MADM issue. The probabilistic simplified Neutrosophic set (PSNSs) is easy to characterize uncertain information during the quality evaluation of Yaozhou porcelain decoration design. In this paper, in order to obtain the weight information, an optimization model is constructed to obtain a simple and exact formula which can be employed to derive the attribute weights values based on the Lagrange function and the probabilistic simplified neutrosophic (PSN) grey relational analysis (PSN-GRA) method is originated for MADM to rank the decision alternatives. Finally, a numerical example for quality evaluation of Yaozhou porcelain decoration design is used to verify the practicability of the PSN-GRA method and compares it with other methods.

“Formula of Water” in the Iconography of Landscape Painting in Medieval China

The theme of the sea in traditional Chinese painting is associated with the last decades of the development of the country’s artistic life, in particular with painting on the theme of the sea and ocean. The aim of the study is to determine the peculiarities of the embodiment of the image of the sea element in Chinese painting of the Middle Ages as a basis for the development of the marina genre in modern art. In the works of masters of the Song (960—1279), Yuan (1271—1368) and Ming (1368—1644) dynasties one can notice the repetition and interpretation of those “formulas” used by painters in medieval China. Such “formulas” are the established ways of depicting water surfaces with pen and ink, formed during the Song dynasty and developed in the Yuan and Ming eras until the seventeenth century. Particular emphasis is placed on the systematization of schemes for the embodiment of the sea in different states in Ma Yuan’s work, their sources, and how they were embodied and transformed by painters in subsequent periods. The use of schemes for depicting water made it possible to achieve the effect of dynamism. This was conditioned, among other things, by the specificity of artistic tools and materials used by masters, who had in their arsenal scarce artistic means. The artists endeavoured to invent and form their own method of execution for each theme. The article has theoretical and practical value. It supplements the history of the development of landscape painting in ancient China by analysing the origin and formation of the previously little-studied motif, which in the space of Chinese painting of the 20th — 21st centuries has taken a strong position.

Process evolyucii pis'ma kist'yu i tush'yu v pejzazhnoj zhivopisi epohi dinastii Sun

As the peak of the development of Chinese landscape painting, the Song Dynasty not only had its own innovation in brush and ink techniques, but also had a profound impact on the inheritance of subsequent generations. Under the influence of different social development and economic condition artists of the Northern Song (960-1127) and Southern Song (1127-1279) used various brush and ink techniques, the study of which allows to expand the understanding of the processes of evolution of landscape painting in China as a whole.

Translating Baihua Grammatical Elements in a Fifteenth-Century Korean Buddhist Text: Linguistic and Cultural Notes on the Mongsan hwasang pŏbŏ yangnok ŏnhae

This article examines the fifteenth-century Korean ŏnhae 諺解 exegesis of the Mongsan hwasang pŏbŏ yangnok 蒙山和尙法語略錄 to determine the translation strategies used to render so-called baihua or vernacular Sinitic in vernacular Korean. In particular, the article aims first to clarify the linguistic features of the baihua materials from the late Southern Song period found in this text, and then to clarify the baihua comprehension and translation abilities of a fifteenth-century Buddhist intellectual who was not a trained specialist in spoken Chinese. It finds that, because Korean Buddhist temples were no longer bilingual Korean-Chinese spaces by early Chosŏn, and Korean Buddhist monks no longer had exposure to spoken Chinese, the Korean translator approached the baihua materials as if they were written in orthodox Literary Sinitic. As a result, he made a number of errors and mistranslations, especially when it came to translating vernacular Sinitic tense-aspect particles in vernacular Korean. The article concludes by briefly comparing and contrasting glossing strategies in Japan and Korea.

송대 은사(隱士) 집단과 은일 문화

This paper is intended to study the recluses in the Song Dynasty in the range of “Characters -Text-Politics”, which subject would be the official history, i.e., “History of Song Dynasty·Biography of Recluses”, from the side of the relationship between the intellegent class and nation by recognizing the recluses as a special social class. This study covers largely following three parts: Biography of Recluses and the background where the recluses emerged; the characters in Biography of Recluses, the types of recluses; political and social meaning of the Biography of Recluses and recluses. We would get a systematic understandings on the characteristics of the Reclusive Culture in Song Dynasty by studying the relationship between the recluses and politics, the social role of the recluses, meaning of compilation of the official history, Biography of Recluses, reclusive respection, and the reclusive culture, etc. Through this, it was possible to understand the political and social implications of the recluses in the Song Dynasty as a unique group of special social class and what kind of seclusion(隱) and government official(仕) variations they formed in their relationship with the state.

Feminization Phenomenon of Guanyin: The Gender Transformation of Religious Icon in Song Dynasty

Guanyin, the Bodhisattva of Compassion, holds an esteemed and irreplaceable position within Mahayana Buddhism. The belief in Guanyin has flourished across various regions of China, becoming deeply entrenched in the religious and cultural fabric of the country. Throughout history, the image of Guanyin has undergone a significant transformation, evolving from a male representation to a revered female deity. This article aims to delve into the period spanning the Han Dynasty to the Song Dynasty, in order to unravel the origins of Guanyins gender and analyze the profound aesthetic implications associated with the shifts in Guanyins depiction over time. By scrutinizing the fusion and compromise of the Buddhist notion of equality from its Indian roots and its subsequent integration into Han China, alongside the prevalent Confucian belief in male superiority and female inferiority, the article seeks to illuminate the social and philosophical underpinnings behind the widespread acceptance of the female Guanyin during the Song Dynasty.

A Comparative Aesthetics Analysis on Song Dynasty Lacquer Dish in the Form of Plum Blossoms with a Red-brushed Pattern of Two Phoenixes

The Chinese artcraft in Song and Ming Dynasty set a standard that is understood as both unique and influential. Through comparative research, the lacquered Artcraft in East Asia and Europe would provide a holistic view of how Chinese lacquer art craft transferred through dynasties. Two Chinese crafts, Ming Yongle red-painted tea flower round plate and the Song dynasty Lacquer dish in the form of plum blossoms with a red-brushed pattern of two phoenixes are illustrated. It then presents a gilt-bronze inlaid lacquer vessel from France in the reign of Louis XV, made by the Japanese and European Lacquer Bureau, and one can see the great difference between it and the two previous ones made in China. It is inlaid on the top surface with figures, carriages, and horses, as well as with figures of mountains, rocks, and trees, with most of the figures concentrated on the left side, while the right side is left relatively empty of white space. It is argued that from several aspects, the comparison is worthwhile.

'Share the Pleasures with the Public': Evolution of Urban Landscapes in Nanjing in Song Dynasty China (976–1279)

ABSTRACT This study investigates the cultural and political implications of urban landscapes in Song Dynasty China through a case study of Nanjing’s greenspace. The increasing urban population and thriving city-centred culture prompted urban greenspaces in Nanjing to assume additional social and cultural functions, contributing to the multi-level and multi-functional development of the city’s greenspaces under commercialised and popularised aesthetics and landscaping theories. Meanwhile, under the political principle of ‘sharing the pleasures with the public’, the imperial court and local officials attached importance to landscaping, using urban gardens as a tool to achieve political and cultural control and social edification.

The combination of the Song Dynasty patterns and digital technology

Abstract The Song-era artifacts carry ideas of naturalness and moderate elegance, preserving and passing them on to future generations. The emerging digital opportunities and initiatives allow us not only to study pattern samples in detail but also to create digital equivalents that are not subject to aging or destruction. This research aims to obtain specific knowledge and situational experience regarding the digitization of Song Dynasty patterns. At the preliminary research stage, the authors performed an online survey on a popular Chinese platform. The survey confirmed the interest of a wide audience in cultural heritage (CH) objects and their preservation. The respondents noted the focus on digital sources of information and considered the documentary video format an optimal educational design. In the first stage, Song patterns were digitally processed using MATLAB version 7.0 and ACDSee. In the subsequent phase, based on the processed patterns, the authors developed an instructional video. In the third stage, the researchers assessed students’ knowledge acquired by watching a video (experimental group) or attending a lecture with a presentation based on raw patterns (control group). The results obtained before and after the intervention showed significant progress in each group. It indicated the effectiveness of the digitized images and this intervention for obtaining new knowledge and raising awareness about the Song Dynasty CH.

The Epitome of Ethnic Integration: The Formation and Development of Hui Nationality

In this paper, the origin of the Hui people in China is researched, the formation history of the Hui people is stated in detail, the development and evolution of the Hui people are described in detail, and the origin, formation, development and evolution history of the Hui people are divided into six stages, and the characteristics of each stage are analyzed in detail. It is pointed out that the origin of Hui nationality originates from the opening of China’s Silk Road, the needs of Sino-foreign economic and trade development, and China’s political integrity, economic prosperity, cultural prosperity, national prosperity and people’s security are closely related. The formation of Hui in China has the great attraction of Sui, Tang and Song dynasties, and is closely related to the expansion, wars and killings of Islam in the Arab Empire and the plunder, capture and recruitment of soldiers in the Mongolian and Yuan Dynasties. The formation of the Hui people and the essence of its development and growth are the fundamental way for the eastern Muslims to settle and grow in China and absorb the blood of Han Chinese, Mongolians, Uyghurs, Jews and other ethnic groups.

Song Dynasty Family Rituals and the Reconstruction of Confucian Daily Life

Abstract The reconstruction of Confucianism during the Song dynasty is an important issue in the history of Chinese thought. Song scholar-officials not only introduced ideological innovations and founded the new type of Confucianist “School of Universal Principle” known as “Neo-Confucianism,” but also, in their reconstruction of Confucianism, attended to the specific rituals and introduced the concepts and values of the school into people’s daily life and habits. The observance of ritual privately at home – using ritual to “instruct” and “admonish” the family – became the way for scholar-officials to embody Confucian values effectively in daily life. Song family rituals developed differences from previous eras with respect to text, structure, and meaning. However, as rituals that comprehensively arranged the order of Confucian daily life, they were not merely a static Neo-Confucian text and system. Rather, scholar-officials’ ritual activities were always the concrete, dynamic aspect of the Confucian revival movement. Therefore, we must begin the discussion of family rituals from a wider perspective, first by exploring the motivation and goals of scholar-officials’ rituals. We will then discover how frustrated and compromised scholar-officials of the period felt when the pattern of daily life they had created proved difficult to accommodate to the real world. We will finally take note of the value system that this pattern was meant to demonstrate.

The Changing Landscape of Medieval Chinese Customs: Focusing on Sitting Positions

Abstract From the Wei-Jin through Tang-Song periods, social structures and customs in China underwent great change. In the case of sitting positions, these periods saw a shift from the “floor-sitting era” prior to the Qin to the “era of raised sitting” following the Tang and Song dynasties. In the interim, there was a period where the seated squat (juzuo 踞坐) made an appearance. This position is depicted in the “Man seated on foreign stool” detail of the scroll painting, Bei Qi jiaoshu tu 北齊校 書圖. During the Liu Song dynasty, monks at the Qihuan Temple ate in a seated squat and were vehemently lambasted by scholar-officials led by Fan Tai, instigating political debate around the sitting position. From a Confucian point of view, sitting positions are divided into two categories based on whether the calves or the bottoms of one’s feet touch the ground: the first includes kneeling, the sitting kneel, and the lotus positions, while the second includes squatting, sitting with legs outstretched, and the seated squat positions. Shifts in sitting positions reflect not only subtle changes taking place across various aspects of Chinese social customs and daily life, but also structural change on a systemic level. On the ideological front, obscure learning of the Wei and Jin dynasties exposed abuses of Confucian ethics. Compounded with the onslaught of foreign cultural influences such as Buddhism, it is no wonder, in this context of great historical upheaval, that efforts to preserve Confucianism would end in failure.

Spatio-Temporal Process of the Linji School of Chan Buddhism in the 10th and 11th Centuries

From the middle of the Northern Song Dynasty (960–1127), the Linji School became the main branch of the Southern Chan Buddhism. Understanding the historical significance of the Linji School is crucial for comprehending the origins and development of Chan Buddhism in China and East Asia. This article adheres to the academic approach of studying Chan in its historical context, using GIS (Geographic Information System) tools to include in the research all seven generations of Linji monks, from the fourth to the tenth Linji generation, and reconstructing the spatial and temporal process of Linji’s transmission in the 10th and 11th centuries. The study found that the Linji monastic group maintained a tenuous relationship with secular power in their ideology during the Northern Song Dynasty, with their preaching distribution center far from the power center (the capital), located to the south of the Yangtze River. This situation allowed the Linji monastic group to avoid extinction during the transition between the Song and Jin Dynasties, and the monastic group later became a unique and thriving force.

Structure and stable isotope ratios of ancient and artificially aged silk fabrics

Understanding the degradation of silk fibers and tracing silk fabrics from archeological sites have always been challenging. The stable isotope technique provides the possibility to trace ancient textiles, especially for the controversial issue of the silk origin. Chinese historic silk fabrics from the Xia dynasty (about 4000 years ago), Warring States period (B.C. 475- B.C. 221), Tang dynasty (A.D. 618- A.D. 907), Southern Song period (A.D. 1127- A.D. 1279), Ming dynasty (A.D. 1368- A.D.1644), and Qing dynasty (A.D. 1636- A.D. 1912) as well as some artificially aged silk specimens have been examined by scanning electron microscopy (SEM), attenuated total reflection-Fourier transform infrared (ATR-FTIR) spectroscopy, and isotope ratio mass spectrometry (IRMS) to investigate their degradation for traceability and preservation. It has been found that the surface morphology and secondary structure of silk were destroyed in the degradation process. Under most aging modes, the silk fabrics were enriched with heavy stable isotopes after degradation. In the case of charring, the isotopic ratios of heavy hydrogen and oxygen isotopes showed different variation tendencies, which need to be further studied for better understanding. The results revealed that stable isotope ratios of silk fabrics are affected by different aging conditions. The degradation of silk fabrics is an important cause of stable isotope offset in historical silk fabrics. Overall, this study provides useful insights into the silk degradation mechanism and can serve as a useful reference for tracing the rich textile heritage.

Manufacturing technique for Jizhou painted porcelains in the Yuan dynasty and its influence on coloring

The Jizhou kiln was an important production center of the painted porcelains in Southern China during the Song and Yuan dynasties. The manufacturing technique of the painted porcelains in the Jizhou kiln potentially facilitated the emergence of the well-known blue-and-white porcelains in Jingdezhen. Herein, the chemical compositions and microstructures of the bodies, glazes and paintings of Jizhou painted porcelains from the Yuan dynasty were investigated through X-ray fluorescence (XRF), optical microscopy (OM), Raman spectroscopy and field emission scanning electron microscopy with energy dispersive spectroscopy (SEM‒EDS) to clarify the manufacturing characteristics of Jizhou painted porcelains and their impact on the coloring mechanism. The results showed that the bodies of Jizhou painted porcelains were made of local clay and those transparent glazes were made of local sericite-rich clay and botanic ashes. Black‒brown painted porcelains and red‒brown painted porcelains were methodically made by ancient potters by controlling pigment formulation, painting techniques and firing schedules. The colors of the black‒brown painting and the red‒brown painting were related to the α-Fe2O3 particles in the iron-rich minerals used in the pigment and the iron oxide crystals (α-Fe2O3 and ε-Fe2O3) precipitated on the glaze surface, respectively.

A Case Study on the Research of Social and Cultural Traditions in the Song Dynasty China of International Sinology

International Sinologists paid early attention to the Pu Lu works that originally existed as scientific and technological text, but constructed an unique pedigree of knowledge with scientific, political and humanistic implications, also coursed the innovative practice of style.The most outstanding representative figure in this field is professor Ronald Egan of East Asian Department of Stanford University in the United States.Ronald Egan is one of the early scholars who started from the cultural background of the times, focused on the study of flower planting in song Dynasty as an aesthetic existence, and deeply explored the cultural context and cultural thoughts in the works of “Pu Lu”, reflecting the outstanding frontier and creative analysis.He investigated the relationship between the space, scholars and abundant natural resources in the works of Pu Lu in the Song Dynasty.He carried out an in-depth exploration of the self-contradictory argumentation in the works of Pu Lu in the Song Dynasty, he thus achieved an insight into the constraints of cultural tradition.

Saikosaponin a activates tet1/dll3/notch1 signalling and promotes hippocampal neurogenesis to improve depression-like behavior in mice

Ethnopharmacological relevanceRadix Bupleuri, also named “Chaihu” in Chinese, is a substance derived from the dry roots of Bupleurum chinense DC. [Apiaceae] and Bupleurum scorzonerifolium Willd. [Apiaceae]. Radix Bupleuri was initially recorded as a medicinal herb in Shen Nong Ben Cao Jing, the earliest monograph concerning traditional Chinese medicine (TCM). Ever since, Radix Bupleuri has been broadly used to alleviate exterior syndrome, disperse heat, modulate the liver-qi, and elevate yang-qi in TCM. Radix Bupleuri has also been utilized as an important component in Xiaoyaosan, a classical formula for relieving depression, which was originated from the famous Chinese medical book called “Tai Ping Hui Min He Ji Ju Fang” in Song Dynasty. Currently, many valuable pharmacological effects of Radix Bupleuri have been explored, such as antidepressant, neuroprotective activities, antiinflammation, anticancer, immunoregulation, etc. Former studies have illustrated that Saikosaponin A (SSa), one of the primary active components of Radix Bupleuri, possesses potential antidepressant properties. However, the underlying mechanisms still remain unknown. Aim of the studyWe used a chronic social defeat stress (CSDS) mouse model to explore the ameliorative effects and potential mechanisms of SSa in depressive disorder in vivo. Materials and methodsThe CSDS mouse model was established and mice underwent behavioral studies using assays such as the social interaction test (SIT), sucrose preference test (SPT), forced-swim test (FST), tail suspension test (TST), and open field test (OFT). Western blotting, immunofluorescence, and Golgi staining were performed to investigate signaling pathway activity, and alterations in synaptic spines in the hippocampus. To model the anticipated interaction between SSa and Tet1, molecular docking and microscale thermophoresis (MST) techniques were employed. Finally, sh-RNA Tet1 was employed for validation via lentiviral transfection in CSDS mice to confirm the requirement of Tet1 for SSA efficacy. ResultsSSa dramatically reduced depressed symptoms, boosted the expression of Tet1, Notch, DLL3, and BDNF, encouraged hippocampus development, and enhanced the dendritic spine density of hippocampal neurons. In contrast, Tet1 knockdown in CSDS mice dampened the beneficial effects of SSa on depressive symptoms. ConclusionsTherefore, our results suggest that SSa significantly activates the Tet1/Notch/DLL3 signaling pathways and promotes hippocampal neurogenesis to exert antidepressant effects in the CSDS mouse model in vivo. The present results also provide new insight into the importance of the Tet1/DLL3/Notch pathways as potential targets for novel antidepressant development.

The Cooperative Translation Activities of China and the West and Their Influence in the Late Ming and Early Qing Dynasties

In the eyes of many scholars, there have been three pivotal periods in the history of Chinese translation, which are: the translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties, the translation of scientific and technological books from the late Ming and early Qing Dynasties, and the translation of Western works from the Opium War (1840-1842) to the May Fourth Period (1915-1921). As the second climax in the history of Chinese translation, the Sci-tech translation activities in the late Ming and early Qing dynasties held a pivotal position in the history of Chinese translation, greatly promoting the dissemination of scientific and technological knowledge in China and enabling Chinese people to gain a deeper understanding of Western culture for the first time. This article summarizes and analyzes the influence of the Sci-tech translation activities in the late Ming and early Qing dynasties.

Systematic Investigation into Evolution of Materials and Techniques Used in Lacquer Lian from the Warring States Period to the Yuan Dynasty

In order to investigate the evolution of Chinese lacquering techniques, seven pieces of lacquer Lian from the Warring States Period to the Yuan Dynasty (475 BC–1368 AD) were analyzed by means of cross-section observation, Raman spectroscopy (RS), and thermally assisted hydrolysis and methylation pyrolysis coupled with gas chromatography/mass spectroscopy (Py-GC/MS). The results revealed that the lacquer Lian consisted of a three-layer structure, encompassing a pigment layer on the surface, an undercoat layer in the middle, and a ground layer. The red mineral pigment utilized was cinnabar, while a combination of Chinese lacquer and drying oil served as the primary organic material. Although lacquering techniques had undergone minimal changes from the Warring States Period to the Yuan Dynasty, the species of drying oil had changed, based on the fact that boiled tung oil was found in the ground layer of lacquerware from the Song Dynasty and the Yuan Dynasty. The present research provides direct evidence for the inheritance and development of Chinese lacquer technology.

Analysis of the relationship between the temporal and spatial evolution of henan grotto temples and their geographical and cultural environment based on GIS

Grotto temples in Henan Province, which began in the Northern Wei Dynasty and ended in the Republic of China, have been excavated and repaired to varying degrees in the Sui, Tang, Song, Yuan, Ming and Qing dynasties. In this study, 119 grotto temples sited in Henan Province were considered as the research object, and the spatial and temporal distribution of grotto temples in Henan Province is analyzed by using the method of quantitative geographic analysis and ArcGIS 10.5 software. The analysis results indicate that the grrotto temples (including cliff statues) in Henan Province tend to have a cohesive distribution, with uneven regional distribution, mainly concentrated in the western and northern regions of Henan. The distribution direction and center of the grotto temples (including cliff statues) did not change much during the Northern Dynasties, Sui and Tang dynasties, and Song and Yuan dynasties, mainly distributing in the northwest of Henan. However, the situation underwent significant changes and began to migrate to south of Henan, reflecting the changes the changes in the political and cultural center at that time. The spatiotemporal distribution of the cave temples (including cliff statues) was based on the related topography, river systems, stratigraphic lithology, road traffic, and was direct or indirect influenced by the authorities as well.