Southern Song Dynasty Research Articles

A convenient archaeological ruins identification method through elevation information extraction from CORONA stereo pairs

Three-dimensional (3-D) stereo images can be generated via computer-based image processing of CORONA stereo pairs. To a certain extent, important terrain and surface feature data extracted from these stereo images can improve the survey of archaeological sites and the identification and mapping of major landscapes. In this study, we focused on the identification of the archaeological ruins of Liangzhu City. An optical stereo model (red/blue stereo image) of the Liangzhu site was created through computer-based mosaicking and processing of CORONA remote-sensing stereo pairs taken in the 1960s and 1970s. By importing the optical stereo model into mobile phones, tablet computers, and other mobile devices, the research team undertook real-time locating of ruins via human observation, on-site investigation, and image overlay during a field survey and identified several Liangzhu-period dams, some of which have been confirmed via archaeological field investigations. The research team later applied the same method to the identification of tombs at the site of the mausoleums of the six emperors of the Southern Song dynasty. The results further prove that this method is feasible and reliable and can be widely promoted and used for the identification of archaeological ruins.

Manufacturing Techniques of the Mortar Excavated from the Tieguai Tomb of the Northern Song Dynasty in Nanling, Southern China

ABSTRACT Glutinous rice mortar is a traditional lime-based building material which was first used in China during the Southern Song Dynasty (1127-1279 CE) according to ancient Chinese documents. The Tieguai Tomb, dating back to the late Northern Song Dynasty (960-1127 CE) in Nanling, Southern China, was built by using mortar for its tomb chamber, making it the earliest mortar tomb found in China to date. In this study, X-ray fluorescence spectroscopy (XRF), X-ray diffraction (XRD), thin-section petrography, Fourier transform infrared spectroscopy (FTIR), and starch grain analyses were conducted to comprehensively investigate the manufacturing techniques of the mortar from the Tieguai tomb. The results show that the mortar is a type of organic–inorganic mixed material made of glutinous rice pulp, lime, clay, and fine sand. This finding indicates that glutinous rice mortar had already been used as a building material as early as the late Northern Song Dynasty, which is the earliest use record for this material in China. This study also provides direct scientific evidence for exploring the origin of glutinous rice mortar and is of great importance for reconstructing the history of Chinese traditional building materials and architectural techniques.

묘도와 묘총 : 송대 대혜 문하의 여성 선사들

Among the official disciples of the Southern Song Dynasty Zen master Dahui Zonggao(1089-1163) of the Chinese Linzi School were two bhikkhunis, Miaodao and Miaozong. Before Miaodao and Miaozong, the only other bhikkhuni in the history of Chinese Zen Buddhism was Moshan Liaoran in Ching-te ch'uan-teng lu. In the Southern Song period, the number of bhikkhunis and lay people recorded in Zen Buddhist texts gradually increased. Writers of Zen Buddhist texts sought to broaden the scope of Zen Buddhism by including royal women and elite men, often criticising the traditional focus on male ascetics. Miaodao and Miaozong were two of the earliest pioneers of this transformation of Zen Buddhism in the Southern Song Dynasty and were highly respected and representative bhikkhuni Zen masters. This paper examines these two bhikkhunis, Miaodao and Miaozong, through the literature on the history of Zen Buddhism in the Southern Song Dynasty and the writings of Dahui. In order to examine the evaluation of these bhikkhunis and their characteristics in relation to the context of the Southern Song period, the scope of this study is limited to the Zen Buddhist literature of the Southern Song period. The reason why Zen Buddhist texts record the biographies of many female Zen masters and actively include them in Zen Buddhist genealogies is that the examples of excellent female Zen masters can demonstrate the effectiveness of Zen Buddhist practice and increase the popularity of Zen Buddhism. Dahui often referred to the examples of Miaodao and Miaozong to teach and inspire his followers, especially women, to practice his Zen meditation. While presenting them as serious practitioners on the path to enlightenment, he also sought to present them as exemplary female leaders for other female students. This shows that he recognised the need for the active participation of women in the spread of his Zen Buddhist practice and in the development of Zen Buddhism. The Southern Song Dynasty Zen texts that record the Miaodao and Miaozong show an unprecedented high regard for female Zen masters. However, we can also see the limits of the male-centred authoritarianism that still persists in these texts. In the Southern Song Dynasty of China, elites were actively engaged in Zen Buddhism, the bhikkhuni order was highly prominent, and the traditional bhikkhu-centred hierarchy of the transmission records was being challenged. These changes were reflected in the high esteem in which female Zen masters were held.

Formula process and coloring mechanism of bluish‐white porcelains from the Lanxi kiln in Fujian, China

AbstractBluish‐white porcelain was a prominent type of porcelain in ancient China, renowned for its distinctive artistic style and unique characteristics. The Lanxi kiln in Jianning County, Fujian Province, has unearthed a multitude of bluish‐white porcelain products from the Southern Song dynasty that exhibit vibrant glaze color and exceptional craftsmanship. The quality of these porcelains surpasses that of contemporaneous Jingdezhen and Baishe kiln products in Jiangxi Province, representing the pinnacle of bluish‐white porcelain excavated across various regions of China during the Southern Song dynasty. In this study, samples of bluish‐white porcelain from the Lanxi kiln and Baishe kiln, dating back to the Southern Song dynasty, were selected and analyzed via energy dispersive X‐ray fluorescence, ultraviolet–visible–near infrared (UV–Vis–NIR) spectrophotometer, metallographic microscopy, and scanning electron microscopy with EDS to investigate their glaze formula process and coloring mechanism. Moreover, these findings were subsequently compared with those of Jingdezhen bluish‐white porcelain from the same period. The results demonstrate that the raw materials of porcelain stones used in the glaze of the Lanxi and Jingdezhen kiln are similar in composition yet differ significantly from that employed in the Baishe kiln. Potassium feldspar was added to the glazes of the Baishe and Lanxi kiln, potentially existing exchanges of process of the two kilns due to their geographic proximity. The firing atmosphere of bluish‐white porcelain with different glaze colors in the same kiln exhibits significant variations. In particular, the lake blue sample undergoes firing under a strong reducing atmosphere, resulting in an excess content of Fe2+ in octahedral hexagon coordination within the glaze, thereby intensifying its blue hue. The colors of various glazes are determined by both chemical color and physical color. The former is a result of the absorption of Fe3+ in the ultraviolet region and the d‐d electron orbital transition of Fe2+ in the infrared region. However, the latter is not the scattering physical color but the diffuse reflection physical color produced by bubbles and anorthite crystallization layers.

A Preliminary Analysis of the Influence of Southern Fujian Religious Folk Customs on Folk CraftsTaking Dehua Kiln and Zhangzhou Kiln as Examples

Southern Fujian mainly refers to the "Southern Fujian Iron Triangle" region composed of Quanzhou, Xiamen, and Zhangzhou. Since the Southern Song dynasty, this has been the primary economic and cultural hub of the province. The dialects and cultures of these cities are historically interconnected. In this context, many folk crafts have emerged in Southern Fujian's history. This paper focuses on traditional folk crafts of the Southern Fujian areaDehua Kiln white porcelain and Zhangzhou Kiln beige-glazed potteryexamining from the perspective of local cultural and religious customs. Using documentary research and case study methods, this study explores the impact of local religious culture and customs on the craftsmanship of these two types of pottery, aiming to further promote the exchange of folk crafts between Zhangzhou and Quanzhou.

Folding chair “Iseri” of the mongols

One of the characteristic artefacts of the material culture of Medieval Mongols is a folding chair. The Mongols used chairs with legs that were easy to fold and carry. It was a product adapted to the nomadic lifestyle. It was used differently by the nobles and wealthy people. The chairs can be seen in Medieval Mongolian stone statues and Persian miniature paintings that depicted the Mongols. Also, a folding chair was found from the Tavan Tolgoi site of Ongon soum, Sukhbaatar province, Mongolia. During the Mongol Empire, this chair was specially made from wood called “huanghuali” (Dalbergia odorifera, fragrant rosewood or Chinese rosewood). Such a wooden chair, made during the Ming Dynasty of China, has been preserved until the present. It can be said that this chair bears an influence of the Mongol Empire. A record written by Zhao Hong, an ambassador from the Southern Song Dynasty who came to Mongolia in the 13th century, says that Genghis Khan sits in a folding armchair with golden dragon. It also states that his general Mukhali used an armchair with silver dragon. The archeological monument depicting a dragon in the Mongolian folding chair is housed in the museum of Dundgobi province, Mongolia. Around Shangdu, the upper capital of the Yuan Dynasty, there are stone statues from the Mongol Empire. These statues also appear to have armchairs with such dragons. Unfortunately, the part of the core with the dragon was deliberately broken and damaged. The dragon was not only a Chinese symbol but also of kings and nobles in the East, including the Mongols. The “iseri” armchairs of the Mongols were later adopted by Ming and Jin dynasties, as well as other states in Asia, some with editions and some directly.

Study on decorative patterns in The Great Nuo Picture

The Great Nuo Picture《大傩图》collected by the Forbidden City in Beijing is a Song Dynasty genre painting, which depicts twelve people wearing strange costumes, wearing various hats, holding musical instruments or daily utensils, dancing and showing a joyful atmosphere. By interpreting the meaning of Nuo in various dynasties, it was determined that this was a Nuo opera activity that took place in the Jiangnan area during the Southern Song Dynasty. Based on the classification and research of the decorative patterns that appeared more frequently on the costumes of the characters in the painting, it was found that this may be a borrowed object from the painter. To express emotions, it expresses the expectation that the imperial court will regain its lost territory in the north as soon as possible. The painting not only has a strong atmosphere of the market, but also depicts exquisite and luxurious costumes. The fusion of two completely different artistic styles in the painting is obviously related to the special environment of the painters of the Southern Song Dynasty Painting Academy.

자평명리학의 운명가능론과 그의 변천

This article examines how Seo Ja-pyeong's theory of possible fate, which founded the study of Japyeong Myeongri in the early North Song Dynasty, is inherited and changed during the major successors after the Southern Song Dynasty. Seo Ja-pyeong was wary of luxury and emphasized on the doing one's bestand waiting Heaven's decree and took the theory of possible fate that if he blocked it with his accumulation of virtuous deeds, he would return in a bad way. Jin So-am emphasized accumulation of virtuous deeds and the immutability of misdeed, arguing that good deeds and evil deeds, as well as life expectancy, could increase or decrease just by thinking about them. Jin So-am recognized accumulation of virtuous deeds as a higher concept than nasolabial folds in terms of the influence that determines the life, and presented an example of successful 改命 through accumulation of virtuous deeds. Lim Cheol-cho emphasized the practice of virtue and listened to the donation of property as a way of good deeds, but donating to a religious organization has no effect and should be shared with poor relatives He argued that there was an effect of changing Heaven's decree. In addition, it was said that if you cultivate virtue, you can receive rewards and make up for people's work, and the purposeful good deeds of changing Heaven's decree were also considered to be effective. In addition, it was considered that the virtue of parents or ancestors influenced the name of a child. In addition, it was considered that the person's name was a combination of not only the nasolabial folds but also the ancestors' graves and ancestors' virtues based on feng shui. Seo Ja-pyeong, Jinso-am, and Im Cheol-cho saw that they can change Heaven's decree through accumulation of virtuous deeds in common. However, if Seo Ja-pyeong's theory of naming is a passive theory of possible fate, Jin So-am and Im Cheol-cho's theory of naming can be said to be a positive theory of possible fate, and among them, Jin So-am is the most active.

“The Battle of Diaoyu City” And Its Impact on The Mongol Empire, The Southern Song Dynasty, And the European Landscape

“The Battle of Diaoyu City” And Its Impact on The Mongol Empire, The Southern Song Dynasty, And the European Landscape

On Interaction Between the Geisha from “He Gu” and Lyricists of Scholar-official in the Southern Song Dynasty

With the decline of the Music Bureau, the performance spaces of “He Gu” geisha were no longer confined to traditional public places of entertainment (Goulan Wasi), such as the city streets and alleys, Instead, they increasingly appeared at banquets and social occasions attended by scholars and officials. There was an increase in interaction between scholars and officials and “He Gu” geisha, with scholars and officials providing various lyrics for the “He Gu” geisha to sing based on their needs, and the latter also seeking lyrics from the former for various reasons, which generally prospered the overall performance of lyrics. “He Gu” geisha’s performance field was expanded from the marketplace to the scholar-official world, and inadvertently gained a relatively higher level of taste into their performance. The works produced by the interaction between scholar-officials and “He Gu”geisha also constituted a source of the latter’s performance content. The two-way interaction played a unique role in the creation and style of lyrics, and was a significant force in the development of the history of southern Song dynasty lyric poetry.

Blessings on the Waves: Miraculous Encounters of Japanese Pilgrim Monks during Sea Voyages Transmitting Dharma from Southern Song China

The maritime route connecting the Chinese continent and the Japanese archipelago facilitated a significant exchange of commercial goods and sociocultural knowledge throughout the Southern Song dynasty. Within this context, Japanese pilgrim monks traveling along this route acted as key conduits for the transmission of Buddhist teachings. Their journeys profoundly influenced the establishment and development of new Buddhist monasteries in Japan. Focusing on biographical accounts that portray the experiences of these pilgrim monks during their twelfth- and thirteenth-century sea voyages, this paper aims to explore how these accounts drew on intertextual links with existing Buddhist records to fulfill the compilers’ intentions. Specifically, this paper examines the structure and sources of biographical accounts detailing miraculous encounters between pilgrim monks and Buddhist deities during perilous situations at sea. By interpreting the role of these deities in the corpus of Buddhist literature and within Japanese Buddhist monasteries founded by pilgrim monks, this paper argues that the increasing emphasis on pilgrim monks’ attainment of divine protection in their biographical records suggests a growing concern for reinforcing the authority of their dharma lineages. Moreover, the composition and reception of these miraculous accounts reflected the changing religious needs and reshaped strategies for promoting specific Buddhist sects in subsequent periods.

Evolution of Poetic Composition Theories from Shilin Shihua to Chengzhai Shihua

Ye Mengde, a well-known Chinese poet and poetry critic in the Song Dynasty, advocated the concept of implicit naturalness in his work, Shilin Shihua (Shilin’s Remarks on Poetry). He emphasized that the use of allusions in poetic composition should not be far-fetched and demanded that words and sentences be refined and hammered. Based on Ye’s insights, Yang Wanli, another famous Chinese poet in the Southern Song Dynasty, further developed the theory. In Chengzhai Shihua (Chengzhai’s Remarks on Poetry), he proposed that the essence of poetry lies in “poems being concluded while the taste remains eternal,” paid attention to the skillful integration of idioms and allusions, advocated the importance of creating “stunning verses” in writing poetry, and practiced what he preached by actively engaging in poetic composition. He shattered the traditional conventions of the late Jiangxi School of Poetry, created the unique “Chengzhai Style” characterized by freshness and liveliness, and injected a vibrant “poetic taste” into poetry, enhancing the role of poetic composition theory in guiding poetry creation practices.

Study on biodegradation mechanism of Fusarium solani NK-NH1 on the hull wood of the Nanhai No. 1 shipwreck.

The Nanhai No. 1 shipwreck is an ancient wooden ship in the Southern Song Dynasty. Currently, serious challenges of microbial diseases exist on the hull wood. This study aimed to obtain microbial samples from the ship hull in December 2021 and analyze the microbial diseases through scanning electron microscopy and high-throughput sequencing to preserve the Nanhai No. 1 shipwreck. The biodegradation mechanism of diseased microorganisms was explored through whole genome sequencing and the detection of enzyme activity and gene expression levels of diseased microorganisms under different conditions. The results showed that there was obvious fungal colonization on the surface of the hull wood and Fusarium solani NK-NH1 was the dominant disease fungus on the surface. NK-NH1 has strong cellulose and lignin degradation ability. Its whole genome size is 52,389,955 bp, and it contains 17,402 genes. It has a variety of key enzyme genes involved in cellulose and lignin degradation. The NK-NH1 dominant degrading enzyme lignin peroxidase has the highest enzyme activity at pH = 4, NaCl concentration of 30%, and FeSO4 concentration of 50 mg/L, while laccase has the highest enzyme activity at pH = 4, NaCl concentration of 10%, and FeSO4 concentration of 100 mg/L. The above research results prove that NK-NH1 is a key fungus to the biodegradation of ship hull wood when it is exposed to air, low pH, high salt, and rich in sulfur iron compounds. This study provides a theoretical basis for the preservation of the Nanhai No. 1 shipwreck.

Restoration Design of "Siming Cave Day" in Zhenyin Garden of Southern Song Dynasty

Restoration Design of "Siming Cave Day" in Zhenyin Garden of Southern Song Dynasty

A formla of obtaining the number of polynimial expansion combined terms based on the "Yanghui triangle"

The history of ancient Chinese mathematics once had its own brilliant chapter, and the discovery of Yanghui Triangle is a very wonderful page. The Yanghui Triangle was discovered by the ancient Chinese mathematician Jia Xian in the 11th century and quoted by the mathematician Yang Hui in his book of the Southern Song Dynasty, so that we can understand Jia Xian's great contribution to mathematics today. "Yanghui Triangle" has always been a very interesting part of middle school mathematics learning. Through training students' understanding of "Yanghui Triangle", students can have stronger thinking ability of combination of number and form. This paper breaks away from the traditional research content of the coefficients of "Yanghui triangle", innovatively studies the relationship between Yanghui triangle and polynomial expansions, and proposes a method to quickly determine the final number of polynomial expansions under different powers.

Zhu Fan Zhi and the Maritime Road of Aromatic Medicine in the Song Dynasty

Zhao Rukuo’s Zhu Fan Zhi in the Southern Song dynasty was the first book in the history of China to systematically describe the “Maritime Silk Road”, recording the geography, products, customs, trade, etc. of more than 50 foreign countries and regions. The book included a large amount of medical literature, introducing medical customs and the production of drugs in various places, as well as the efficacy of some medicine. These materials are of unique value for understanding the medicine trade in the Song dynasty, and even the medical culture along the “Maritime Road of Aromatic Medicine”.

From the Protection of Learning to the Protection of the Nation: Worship in the Southern Song Dynasty Taixue

<p>宋代祠祀信仰相當興盛，在為國家培養德才兼備之儲備人才的南宋太學之內亦存在被奉祀的祠神，根據《宋史》記載可知該神為岳飛。然而，經過考察相關記載之後，本文發現太學祠祀信仰，實際上經歷了從祭祀土地神到後來以岳飛為廟神的變化，出現此變化的原因，與太學生群體意識的高漲，以及朝廷有意旌忠的統治手段有關。最後，本文也針對太學祠祀信仰的內涵展開討論，指出雖然隨著岳飛擔任廟神的說法影響日深，「旌忠」成為該信仰的主流價值，然而原有的「靈驗」特質非但沒有消失，反而與之結合，生動的展示出信仰發展過程所具有的動態性。</p> <p> </p><p>Folk beliefs flourished during the Song Dynasty, and even the highest educational institution, the taixue (National University), had a deity that was worshipped. According to the History of the Song Dynasty, the god worshipped in the Southern Song taixue was Yue Fei. However, after examining the relevant records, this paper finds that the folk beliefs of the Taixue actually underwent a change from the worship of the land god (tudi shen) to the later use of Yue Fei as the god of the temple. The reasons for this change are related to the rising awareness of the student body at the taixue and the national policy of praising loyalty (jing zhong 旌忠). The article also discusses the implications of this belief, pointing out that although the belief in Yue Fei as the temple deity was becoming more and more accepted, and although “praising loyalty” had become the mainstream value of the belief, the original “efficacious” quality of the god did not disappear, but rather combined with it, vividly demonstrating the dynamic nature of the development process of the belief.</p> <p> </p>

Study and Digital Restoration of Costumes Unearthed from the Tomb of Zhao Boyun

Abstract Ancient costumes are a valuable historical heritage of Chinese civilization, and the preservation of traditional culture is an essential contemporary research topic. However, exhibiting precious cultural relics will risk damage, but digitizing traditional costumes can effectively solve this problem through virtual exhibition, and help traditional costume culture spread more widely with the help of technology. The article took sixteen costumes worn by the owner of the tomb of Zhao Boyun of the Southern Song Dynasty in Huangyan as the object of study, analyzed their structural dimensions and fabric patterns, and digitally restored them using the style3D software system. Finally, the fuzzy analytic hierarchy process evaluated the garment restoration effect. This approach effectively combines the conservation of cultural relics and cultural inheritance with information technology and digitalization, which provides new ideas for disseminating traditional costumes and promotes the heritage and development of ancient Chinese costumes.

The mountain-viewing trend in private gardens of the Song dynasty

This study analyses Song dynasty garden documents and paintings and identifies three methods to create mountain-viewing experiences in private gardens. The landscaping techniques, aesthetic sensibilities, and cultural implications of each method are discussed, and the evolution of the mountain-viewing tradition is examined. Due to changes in natural conditions and the influence of royalty, mountains and stones as garden design elements held greater significance under the Southern Song dynasty than the Northern Song dynasty, with marked changes in mountain-building techniques, appreciation of stones, aesthetic preferences, and the professional esteem of designing gardens. Mountain-viewing pavilions became more prevalent during the Southern Song dynasty because the Song people deeply revered scholar Tao Yuanming. This paper contributes to Chinese landscaping history literature by showing how and why the mountain-viewing trend grew and how the Song dynasty influenced garden landscaping in China.

The earliest loaded iron bomb excavated from the Baidicheng fort site, Chongqing, China

An iron bomb, still loaded, dating to the thirteenth century Southern Song dynasty was excavated from the Baidicheng Fort site, Chongqing, China. This loaded bomb is one of the oldest surviving such gunpowder weapons with the earliest remnants of black powder.