Southern Song Research Articles

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.

Alans in the Southern Song campaign of Kaan and Emperor Khublai 1267–1273

Alans in the Southern Song campaign of Kaan and Emperor Khublai 1267–1273

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 significant comparison between magnesium-based binder and other inorganic cementitious materials for the restoration of brick-carved cultural relics

The uniqueness of brick-carved cultural relics causes a higher requirement for restoration techniques and repair materials. Considering the weather resistance and compatibility with the original substrate bricks, three types of inorganic binders were selected as alternative options for brick carving restoration: Ca-based hydraulic lime, Si-based silica sol, and Mg-based magnesium oxychloride. Multiple experiments were conducted to investigate the compatibility of the replica bricks produced using these binders. The adhesive properties and infiltration reinforcement of the binders were also taken into consideration to evaluate the feasibility of these materials’ application for the restoration of brick-carving cultural relics. The results showed that the Mg-based cementitious material led to the best performance, maintaining their original physical properties while restoring the original cohesion. A successful in situ test was conducted on the Southern Song brick carvings (1152 CE) inside the Liuhe Pagoda (Fig. 1 a) in Hangzhou.

Niches and Sculptures of the Imaginary Realm—Revisiting the Fowan Rock Carvings, Beishan, Dazu

The Fowan Cliff Carvings are a key part of the Dazu Grottoes. Formed in a southern and northern stretch, the 290 individual niches at Fowan were mostly sculpted from the Late Tang to the Southern Song. Previous research by archaeologists and art historians has used typological and iconographic methods to periodize these niches and debate the themes behind particular niche sculptures. This essay employs niche inscriptions in a discussion of typical Fowan niche contents, matching lay feasting activities onto the period background behind their construction. These individual case studies grant an understanding of the overall atmosphere at Fowan through the shared inclinations or connections between niches, also reflecting specific niche sculptures via holistic analysis. This method, repeatedly examining the relationship between the niches and site from the perspective of “venue”, helps us restore a sense of situatedness when facing different eras of Fowan and to understand the choice in statue content, changes in niche content, and the design underlying niche form.

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.

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>

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”.

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.

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.

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.

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.

From national capital to provincial capital: Transformation of Hangzhou’s political spaces in the Early Yuan Dynasty

After achieving the unification of all under Heaven, the early Yuan rulers began to reform the political space of the Southern Song capital. The evolution of their policies was closely related to the ruling situation in Jiangnan. After the Yuan army captured Lin’an, ritualistic buildings with strong overtones of imperial power within and outside the city were gradually abandoned or transformed; out of consideration for the political impact, certain protective measures were taken. Due to Kublai Khan’s apprehensions that the situation in Jiangnan would worsen, as well as Sangha’s administration, the transformation tended to be radical: The imperial palace, imperial Daoist temples, Circular Mound Altar of the southern suburbs, the mausoleums of the emperors and empresses, and so on were forcibly transformed into Buddhist temples, sparking violent unrest in Jiangnan society. The Yuan court later adjusted the relevant measures, assigning to Hangzhou the status of a provincial capital, respecting local cultural traditions, and building government offices, ancestral shrines, gate towers, and so on in accord with the Confucian code of etiquette. At the turn of the Yuan and Ming dynasties, the historical facts associated with the transformation of Hangzhou in the early Yuan Dynasty had gradually become obscured, and many mystical legends were later derived therefrom, becoming an important historical reference for governance of Jiangnan by the rulers of later generations.

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.

姜夔《续书谱》中的儒家书艺观

The Song Dynasty created another peak different from the previous dynasties in terms of ideology such as literature, art, and philosophy. In this era of cultural prosperity and development, artistic activities such as poetry, calligraphy, and painting have shown outstanding achievements in both artistic creation and theory. Jiang Kui is one of the representative figures. He not only left rich literary and artistic achievements for future generations in literature and calligraphy creation, but also left precious ideological wealth for future generations in terms of literary and artistic theory, especially calligraphy theory. As an artist with profound attainments and unique insights into calligraphy, Jiang Kui pondered and summarized his many years of writing experience and artistic experience, and conducted a series of basic questions on calligraphy aesthetics, basic techniques, and cultural meanings. “Xushupu” can be said to be one of the works with remarkable achievements and great influence in the Southern Song Dynasty calligraphy theory, and it has been valued by calligraphers of all dynasties. This article intends to focus on “Xu Shu Pu”, by interpreting Jiang Kui's calligraphy theory, and examining his Confucianism-inspired calligraphy concept. Jiang Kui established “Fengshen” as the highest aesthetic standard of calligraphy art in “Continued Books”, and launched his theoretical interpretation with “Fengshen” as the core. Influenced by Zhu Xi's thoughts and Neo-Confucianism, he also showed an obvious tendency to respect “yili” and “gufa” in his calligraphy theory.

Investigation and analysis of ancient brick carvings of the Liuhe Pagoda in Hangzhou

AbstractThe Liuhe Pagoda in Hangzhou, China, has a large number of brick carvings from the Southern Song Dynasty (1152 ce), covering an area of 464 m2. However, the exquisite brick carvings in the Liuhe Pagoda have deteriorated due to natural weathering and a high‐humidity environment. Through laboratory analysis and on‐site nondestructive testing, the physical and chemical properties of the brick carvings of Liuhe Pagoda were investigated, and the weathering mechanism of the brick carvings was further analyzed. The brick carving of Liuhe Pagoda is composed of brick, white plastering and black coating. CaCO3 is the main component in white plastering, and the black coating on the top surface contains Chinese lacquer. The weathering products of the brick were analyzed and a trace of CaSO4.2H2O was found. In addition, the brick carvings with high water content have low Leeb hardness and severe weathering. Therefore, water and soluble salt are the main factors in weathering of the brick carvings of the Liuhe Pagoda.

종전 후 베트남-원 사이의 관계 변화와 상호 대응

This article attempted to examine the changes in relations that emerged after the two wars between the Tran(Trần, 陳) Dynasty Vietnam and the Yuan Dynasty in China during the Kublai period. Kublai's conquest of Southern Song(南宋) and the wars in the process of advancing to the Southern Sea Empire ended when the original side retreated, but relations between the two countries continued after the war. At that time, “audience of the emperor(親朝)”was a criterion for determining complete obedience in Mongolia, and Kublai demanded complete obedience from Vietnam. Relations between the two countries after the end of the war also emerged in the demand for this “relationship” and Vietnam's response, and conflicts between the two countries emerged as the Tran Dynasty did not accept Kublai's demands until the end.
 After two failed wars, Kublai did not give up his subjugation to Vietnam. However, the conquest of Vietnam was only delayed in internal and external situations. Therefore, Vietnam refused to cooperate, but tried to ease Mongolian pressure by dispatching envoys or paying tribute several times. Meanwhile, the failure of the expedition to Jawa(爪哇) provided the beginning, and the war between the two countries began in earnest. However, when Kublai died during the preparation process, the situation changed, and after that, the relationship was generally peaceful.

An Examination of the Editors and Friendship of the Tang Songs and Poems in the Classification of the Categories

Zhao Mengkui’s compilation of Tang poems is one of the largest collections of Tang poems in the Southern Song Dynasty, and has served as a guide in the history of the compilation of Chinese Tang poems. Zhao Mengkui, the compiler of the “Tang Songs and Poems”, was born into a royal family of imperial examiners and had excellent family roots and profound academic training. The problem of the different records of Zhao Mengkui’s origin is due to the fact that he lived in a different place of official transfer. In his life, Zhao Mengkui had a close personal friendship with Liu Kezhuang, Li Qianwei, Lin Xiyi, and other literati. It is an important reference value for the study of the compilation of the Tang Songs and Poems.

Chan Gong’an and the “Flexible Method”: A Study on Xuedou Chongxian’s Classic Eulogies and Its Influence on Poetics

This paper argues that as poetics in the Song Dynasty developed, the thinking mode and methods of written expression in Chan Buddhism provided a theoretical reference and creative practical experience for the formation of poetic theories. This point is particularly evident in the formation of the “flexible method”, which was a key theory in poetics of the Song Dynasty. The theory comprises three layers of meaning: it advocates respecting forms, changing the meaning of those forms, and retaining the inherent grace of the forms through a natural and fluent syntax and rhetoric of “defamiliarization”. This theory was highly mature in the writing of Lv Benzhong of the Southern Song Dynasty. Xuedou Chongxian (980–1052), a sixth-generation Chan Buddhist at Xuedou Temple, made a vital contribution to its development, which is highlighted by studying the “Hundred Classic Eulogies”. Xuedou Chongxian initially constructed the connotation and system of the theory of the “flexible method” in both theoretical and practical aspects. His theory of poetics is rooted in the ways of thinking and cultivating of the Yunmen sect. He incorporated his dual identity as a senior monk of the Yunmen School and a poet. He inherited Guanxiu’s view of poetry and the Chan concept of Shitou Xiqian and Zhimen Guangzuo, which greatly impacted the literati of the Northern Song Dynasty and provided a conceptual basis for maturing and improving the “flexible method” theory. Therefore, Xuedou Chongxian’s value in the theoretical construction of the “flexible method” should not be ignored.