Song Dynasty Research Articles

A human geography analysis of the evolution of the urban morphology of ancient Foshan city from the perspective of Cantonese trading culture

ABSTRACT Recent studies have increasingly recognized cultural drivers as influential factors in urban morphology, reflecting a shift in focus from materiality to sociability and subsequently to culture. However, there remains a lack of evidence concerning the impact of geographical features and social factors on the early urban morphology of Foshan city, and this is where the value of this paper lies. Based on the human geography theory, this paper also analyzes the impact of Beidi’s parade trade activities, rituals and folk culture on urban form. The study reveals that since the Northern Song Dynasty, the river area has decreased, while the number of tributaries has increased and extended further inland. This shift reflects a transformation in the river system structure from a natural to a more systematic, intertwined, and artificial state. Before 1980, Foshan exhibited slow expansion from the northern and southern regions towards the center, while the following decade saw rapid expansion that consolidated fragmented areas and extended into peripheral regions, indicating a shift from fragmentation to centralization in urban development. The contemporary street network in Foshan displays a combination of radial and ring roads, closely linked to the waterway network. Trading and political influences have been the primary drivers of urbanization in Foshan from the Tang to the Qing Dynasties, while military influence played a secondary role during the Qing Dynasty.

Pilot work of the 10K Chinese People Genomic Diversity Project along the Silk Road suggests a complex east-west admixture landscape and biological adaptations.

Genomic sources from China are underrepresented in the population-specific reference database. We performed whole-genome sequencing or genome-wide genotyping on 1,207 individuals from four linguistically diverse groups (1,081 Sinitic, 56 Mongolic, 40 Turkic, and 30 Tibeto-Burman people) living in North China included in the 10K Chinese People Genomic Diversity Project (10K_CPGDP) to characterize the genetic architecture and adaptative history of ethnic groups in the Silk Road Region of China. We observed a population split between Northwest Chinese minorities (NWCMs) and Han Chinese since the Upper Paleolithic and later Neolithic genetic differentiation within NWCMs. The observed population substructures among ethnically/linguistically diverse NWCMs suggested that differentiated admixture events contributed to the differences in their genomic and phenotypic diversity. We estimated that the Dongxiang, Tibetan, and Yugur people inherited more than 10% of the Western Eurasian ancestry, which is much greater than that of the Salar and Tu people (<7%), while Han neighbors showed less West Eurasian ancestry (∼1%-3%). Male-biased admixture introduced Western Eurasian ancestry in the Dongxiang, Tibetan, and Yugur populations. We found that the eastern-western admixture in NWCMs occurred ∼800-1,100 years ago, coinciding with intensive economic and cultural exchanges during the Tang and Song dynasties. Additionally, we identified the signatures of natural selection associated with cardiovascular system diseases or lipid metabolism and developmental/neurogenetic disorders. Moreover, the EPAS1 gene showed relatively high population branch statistic values in NWCMs. The well-fitted demographical models presented the vast landscape of complex admixture processes of the Silk Road people, and the newly reported functionally important variations suggested the importance of including ethnolinguistically diverse populations in Chinese genetic studies for uncovering the genetic basis of complex traits/diseases.

Herb and Social Context in Anguo City: Integration Health and Traditional Medicine Part of Cultural Life

Background and Aim: Chinese herbal medicine culture is an important part of the excellent culture of the Chinese nation, represents the core concepts and values of Chinese civilization, and embodies the wisdom of Chinese philosophy and the essence of Chinese civilization. The development path of Chinese herbal culture in Anguo since the Song Dynasty is a microcosm of the development of Chinese herbal culture. By studying the historical background and current situation of Anguo's Chinese herbal culture, analyzing the impact of changes in traditional Chinese culture on Anguo's Chinese herbal culture, promoting Anguo's Chinese herbal culture and social life, and providing support and assistance for further research on the future development of Anguo's Chinese herbal culture. Materials and Methods: This study will use the literature review method for research. The aim is to understand the development path of Angulo's traditional Chinese medicine culture through a literature review and to explore the reasons and foundations for its development through induction and organization. Results: The Chinese herbal medicine culture in Anguo bloomed its unique charm under the precipitation of history, which is the reflection of the real life of Anguo's traditional culture. Zhu “yaofang”, chi“yaoshan”, Guang “yaoyuan”, and kan “yaoxi” have become the daily life, which is the concentrated embodiment of the typical "Chinese lifestyle". Studying its development path is conducive to discovering its value and connotation, and laying a good foundation for in-depth study of Anguo's Chinese herbal medicine culture. Conclusion: Regional culture is one of the sources of culture, and health and well-being are important components of sustainable human development. The natural integration of Anguo Traditional Chinese Medicine culture has been fully integrated into daily life. Living culture provides a broader space for future development, further elucidating the value and significance of its research.

Transparent Celadon with Phase-Separated Structure: Study on the Technological Characteristics and Coloring Mechanism of Celadons from the Lieshan Kiln

The excavation of the Lieshan Kiln site represents a significant advance in the field of ceramic archaeology. Previous scholars fixated on the white porcelain unearthed from this kiln, yet this study zeroed in on celadon from the Northern Song and Jin Dynasties. Celadon samples were analyzed using colorimetry, energy-dispersive X-ray fluorescence spectroscopy (ED-XRF), scanning electron microscopy (SEM), polarizing microscopy, X-ray photoelectron spectroscopy (XPS), and thermal expansion analysis. Results revealed that material and technological advancements in the production of the Lieshan Kiln and reveal the special phase-separated structure in the glaze of the transparent celadon, with a weakly reduced firing atmosphere. Celadon bodies from both periods were crafted from local sedimentary clays in a single-ingredient formula, with the Jin Dynasty refining the preparation, leading to enhanced density and higher firing temperatures compared to the Northern Song Dynasty. The celadon glaze, a high-calcium type made up of glaze ash and specific clays, differed from the body materials. The high SiO2/Al2O3 molar ratio, along with Fe2O3 and trace P2O5, promoted phase separation. Glaze coloration was modulated by the interaction of Fe3+ and Fe2+ ions, and chemical coloration by Fe ions prevailed when phase-separated particles were minute enough to avoid Rayleigh or Mie scattering. In conclusion, the study deepens the understanding of ancient ceramic production by exploring the phase separation structure and coloring mechanism of the celadon.

A Study on the Preservation and Inheritance of Guqin Culture in the Context of Its Historical Development

Guqin has a history of more than 3,000 years. According to legend, it is one of the oldest harpsichord music in China and one of China's intangible cultural heritages. It is not only the favorite of literati, but also contains rich social and cultural values. However, now the influence of Guqin has been negligible and gradually faded out of People's daily life, so it is urgent to protect Guqin culture. This paper studies the historical background of Guqin and the comparison between the ancient and modern development of Guqin and puts forward some methods to promote the development of Guqin. This paper first introduces the historical development of Guqin, starting from the origin, a detailed analysis of the development of Guqin in the Han Dynasty, Tang Song Dynasty, Ming Dynasty. Finally, the comparison of ancient and modern Guqin conditions triggers thinking about the protection of Guqin. At last, this paper puts forward two methods that are beneficial to the development of Guqin and thinks that more propaganda should be done.

Study and restoration of the costume of the HuoLang (Peddler) in the Ming Dynasty of China

Abstract This study looks at two aspects of ancient Chinese genre painting to interpret the more realistic ancient shopping scenes in the painting of the peddler in spring scenery in the Ming Dynasty, namely, the Ming spring scene and the characters’ costume image features. Through the analysis of the detailed characteristics of the style, structure, pattern, and color of the figure costume in the painting of the peddler, a total of five sets of figure costume for an adult male and four children in the painting of the peddler in the spring scenery of the Ming Dynasty in China were digitally restored using the 3D virtual fitting technology, which clearly showed the characteristics of the figure costume of the peddler and children in the Ming Dynasty (1368–1644). The figure’s costume style in the painting of the salesman restored in the article is Beizi, closed crotch trousers, open crotch trousers, and abdominal circumference (a type of apron from the Song Dynasty. It is made to resemble a short apron and is wrapped around the abdomen). The study of the painting of peddler in the Ming dynasty in this work provides a reference for future study on ancient Chinese genre paintings of peddler and the restoration of the costumes of the figures in the painting.

Changes in the meridian tropism of Chongmai points and its theoretical perspectives

The points of Chongmai (thoroughfare vessel) recorded in Huangdi Neijing (The Yellow Emperor 's Inner Classic) were shared with those of foot-shaoyin meridian in Zhenjiu Jiayi Jing (The Systematic Classic of Acupuncture and Moxibustion). Since the Song Dynasty, all of these points were gradually reassigned to the foot-shaoyin meridian, in the way of "the points of foot-shaoyin meridian, and the confluence points of Chongmai ". The paper presents the evolution of the meridian tropism of these points and analyzes the underlying causative factors. It is proposed that Chongmai was developed in the later time, based on the abdominal pulsating blood vessels and mixed with the theories of other meridians that had been earlier formed. It is pointed that the functions of these points on the abdomen are extensive, without the clear meridian specificity. It is rational why the association of these points with meridian is ambiguous. Besides, the relevant theory and practice of this specificity also affect the evolution of the attribution of Chongmai points. Based on the above analysis, the paper presents the exploration on the theories and the problems of theoretic construction such as the relationship between meridians and acupoints, between the regular meridians and the extraordinary meridians, and the ways of the related expressions and descriptions.

Landscape and Shadow: A Comparison of the View of Nature and Philosophy of Art in the Artworks of Fan Kuan and J. M. W. Turner

In Chinese and Western painting, respectively, there are apparent differences in the representation of the vision of nature and the philosophy of art, even though paintings carry nature as their theme in art history. The extent of these differences can be well understood by comparing works of different artists from diverse cultures. The case selected for analysis in this paper comprises the Chinese Northern Song period painter Fan Kuan and the British Romantic painter J. M. W. Turner. This paper compares and contrasts the two artists regarding their perceptions of nature and aesthetic systems. Various perspectives of nature can be explained by works like Fan Kuan's Travelers Among Mountains and Streams and William Turner's The Blizzard or Snowstorm. This paper uses a qualitative research approach to understand how the two painters depict their understanding of the topic through their creativity. Many of the works painted by Fan Kuan illustrate the Confucianistic notion of 'heaven-men unity', focusing on such aspects of nature as peacefulness and timelessness. On the other hand, Turner in his paintings responds to the relation of the age of romance to the force of light, the force of colours, Turner responds to this power of the age. The study findings reveal that though the two painters had a clear distinction based on their cultural origin, style, and thought on philosophical matters, both the painters had artistic interpretations of the natural world in their use of artistic forms.

The Immortal Zhou Fuhai: Hagiography and Community Building in Pure Yang Daoism

Abstract: The Daoist Zhou Fuhai (d. ca. 1935) was a hermit, healer and master of internal alchemy who lived in eastern Hunan and, in the early 20th century, reconstituted the Pure Yang tradition (Chunyang). Today local communities of Daoist women venerate him as a divine immortal and the founding ancestor of their ritual genealogy. This article explores his journey as a Daoist healer and outlines the construction of his veneration and his identity as an immortal on the basis of field observations and oral testimonies as well as a ritual text and a short official hagiography. It takes a close ethnological look at community construction and the transmission of the Pure Yang tradition in eastern Hunan, a region where it particularly developed during the Song dynasty (960-1279).

On the Internal Turn and Meaning Expansion of Taoist Temple Inscriptions in the Song Dynasty

On the Internal Turn and Meaning Expansion of Taoist Temple Inscriptions in the Song Dynasty

The Impact of Xu Ziping’s Historical Existence in the Song Dynasty on the Development of Myeongri Studies

The Impact of Xu Ziping’s Historical Existence in the Song Dynasty on the Development of Myeongri Studies

UNESCO 인류무형문화유산으로서의 중국 徑山茶宴 - ‘청규(淸規)’에서 디지털 문화관광으로의 전개

In 2011, the Jingshan Tea Ceremony was included on the third national list of intangible cultural heritage artifacts and was selected as a representative of “Traditional Chinese Tea Manufacturing Techniques and Related Folklore” for the UNESCO Intangible Cultural Heritage Representative List in November 2022. The popular tea ceremony was incorporated during the process of the sinicization of Buddhism, establishing related etiquette on par with Confucian rituals. As Zen Buddhist temples spread in southern China during the Tang dynasty, a trend naturally emerged among monks to combine meditation practices with tea. By the Song dynasty, the writing and transmission of temple regulations clearly reflected the Buddhist tea ceremony. The temple's tea ceremony appears in rituals of Buddhist offerings, ceremonies, and hospitality. The Jingshan Tea Ceremony is a cultural practice that involves serving tea to guests and monks at the Jingshan Temple located in Hangzhou Yuhang. In the daily lives of monks, tea served various purposes and was an essential medium for interactions with outsiders. The term 'Jingshan Tea Ceremony' itself was created through this study, and restoration of the tea rites of the Jingshan Temple was restored in modern times, indicating that it has been 'reinvented' or 'reinterpreted' as part of China's 21st-century cultural development plan. In the process of transforming the tea ceremony into the Jingshan Tea Ceremony, over ten procedures were established by expert researchers, including the collection and classification of literature, verification and restoration of utensils, and renovation of the tea ceremony space. Additionally, efforts are underway to integrate Jingshan tea culture into cultural tourism packages linked to the natural landscape of Jingshan and artifacts related to the tea sage Lu Yu. Ultimately, the restoration (or recreation) of the Jingshan Temple's tea ceremony, leading to its designation as a national intangible cultural heritage and inclusion in the UNESCO Intangible Cultural Heritage list, reflects a national cultural strategy for preservation and utilization.

The reasons for the prevalence of academies in the Song Dynasty and their interaction with the officia

The reasons for the prevalence of academies in the Song Dynasty and their interaction with the officia

Experimental and formula deduction on the mechanical performance of Fang in Dou-Gong of Song dynasty

In Song dynasty, Dou-Gong construction techniques, Tou-Xin-Zao and Ji-Xin-Zao, varied by the number of Fang connecting to the exterior. This study examines the impact of Fang connections on the mechanical characteristics of Dou-Gong. Six full-scale models were constructed and subjected to quasi-static loading tests in the horizontal Beam and Fang directions under vertical load. The hysteresis behavior, deformation, and stiffness variations were obtained and analyzed. The test results revealed the hysteresis curve of Dou-Gong developed into a flat shape, with good deformation recovery ability and seismic performance. Beam-direction loading led to brittle failure, with Dou-Gong having fewer Fang experiencing bearing capacity loss and those with more Fang succumbing to overturning. Beam-direction stiffness rose by approximately 29% as the number of connecting Fang increased. Fang-direction loading induced ductile failure, predominantly characterized by overturning. Notably, Fang-direction stiffness remained largely unchanged by the varying number of connecting Fang. Dou-Gong slip deformation ratio decreased by 5 -10% as the number of Fang increased. Furthermore, Fang-direction exhibited about 10% greater slip deformation capacity than the Beam-direction. Based on the force transfer mechanism of Dou-Gong components, a stiffness formula for the elastic stage of Dou-Gong in the Beam-direction and Fang-direction was established and validated against experimental data.

Daoist and Confucianist Schools of Thought in Muslim-Majority Indonesian Society

Confucianism is a school of thought that was born in China in the sixth century BC, founded by Confucius. This teaching emphasizes moral virtue, social relationships, and the connection between man and Heaven. The aim of this article is to explore the evolution of Confucianism from its early teachings to its more complex form of Neo-Confucianism, as well as its relevance in the modern context in China and East Asia. The methods used in this article involve a historical and philosophical approach through textual analysis of the teachings of Dao and Confucius, including the works of Zhu Xi, as well as a comparative study of its influence on culture, society, and politics in East Asia. The results of the analysis show that although Confucianism suffered a decline during the period of division after the fall of the Han Dynasty, its rise through Neo-Confucianism in the Song Dynasty era not only integrated metaphysical and spiritual elements but also strengthened education and self-development as the foundation of morality. In addition, the article reveals how Daoism and Confucianism have successfully adapted to modern challenges, such as interaction with Western thought and far-reaching social changes so that it remains relevant in shaping contemporary culture and ethics in East Asia.

Chemical Compositions and Chromatic Mechanism of High-Temperature Iron-Series Glazed Wares from the Guangyuan Kiln in Sichuan Province, Southwest China During the Song Dynasty.

The Guangyuan kiln, located in the Sichuan Province, Southwest China during the Song Dynasty (960-1279 A.D.), is renowned for its high-temperature iron-series glazed wares, including pure black glazed ware, hare's fur glazed ware, glossy brown glazed ware, and matte brown glazed ware. To elucidate the raw materials, processing techniques, and coloration mechanisms of these wares, multiple analytical experiments were employed to investigate chemical composition, microstructure, and the phase of Fe-bearing minerals. We found that glossy brown glazed ware has the highest Fe2O3 content in the glaze (7.67 wt% on average), while pure black glazed ware exhibits the lowest (4.84 wt% on average). Higher Fe2O3 content leads to more iron for Fe-bearing mineral crystallization and larger ε-Fe2O3 precipitation. Based on microscopic observations, pure black glazed ware has numerous 100-250 nm crystalline grains, while hare's fur glaze ware features dendritic crystal flowers (200-400 nm), which exhibited liquid-liquid phase separation within the glaze, suggesting localized phase separation inducing iron oxide crystallization. Glossy brown glazed ware contains well-developed ε-Fe2O3 crystals (25 µm), and matte brown glazed ware, with the highest CaO and total flux, has acicular anorthite crystals alongside ε-Fe2O3 crystals. In summary, the decorative effect of four different types of iron-series glazed wares is determined by their chemical composition, phase composition, and microscopic structure. The findings offer valuable insights for the study of ancient iron-glazed ware.

A study on Dongba manuscripts from the perspective of cultural geography

Dongba manuscripts are traditional Chinese texts written in pictographic Dongba script. The Dongba script likely originated in the early Tang dynasty, and no later than the Northern Song dynasty in the 11th century. The distribution of the Dongba manuscripts corresponds to the distribution of the eastern and western dialects of the Naxi ethnic group. Dongba manuscripts from different regions exhibit significant differences in character forms and writing styles, displaying regional characteristics. Dongba manuscripts are categorized into four regions based on their distribution: the first region features small characters, simple strokes, and a rustic style; the second region features round and delicate characters with even strokes; the third region mainly features three-line scripts with concise strokes and clear writing and with varying spacing; the fourth region features more annotated characters, denser lines, reduced spacing between characters, and a variety of ways to convey meaning and pronunciation. The geographical distribution of Dongba manuscripts is closely related to surrounding ethnic groups such as the Han, Tibetan, Bai, and Lisu.

The Impact of the Confucian Analects on the Concept of Filial Piety in Qutadgu Bilig through the Introduction to the Western Regions of China

Since ancient times, filial piety has been a traditional virtue of the Chinese people, highly regarded and praised by numerous scholars and sages. This paper intends to conduct an in-depth study of the influence of The Confucian Analects, which was introduced to the Western Regions of China during the Han Dynasty, on the concept of filial piety in Qutadgu Bilig, a work completed during the Song Dynasty, using literature review and textual analysis methods. The research findings reveal that these two works, written in different regions, by different authors, and in different eras, demonstrate significant commonalities in their views on filial piety). Specifically, both works assert that: (1) while parents are alive, one should support and show filial respect to them; after their death, one should bury and offer sacrifices to them with proper rites; (2) children should honor their parents with respect and offer sincere advice when necessary; (3) when away from home, one should show brotherly love, universal compassion, and treat others with kindness; (4) filial piety is used to promote loyalty, and the principle of filial piety is applied to govern society. Additionally, this paper explores the cultural background that explains the commonalities in filial piety found in both works, summarizing them as: Qutadgu Bilig’s recognition and assimilation of Central Plains culture, the deep-rooted acceptance of the concept of filial piety in the Western Regions, and the widespread dissemination of The Confucian Analects in the region.

Ting or Chinese pavilion: The history of a Chinese architectural type and its translation in transcultural scholarship

The translation of Chinese architectural types in transcultural scholarship faces two primary challenges: The ambiguous meaning of the term within its original cultural context and the broad connotations and usages of the corresponding English term, which often exceed those of the original. The Chinese architectural type ting, in particular, has been variously translated as &amp;ldquo;kiosk,&amp;rdquo; &amp;ldquo;gazebo,&amp;rdquo; and &amp;ldquo;pavilion&amp;rdquo; in previous scholarship. These translations, however, influenced by European architectural history, have led to inaccuracies, compounded by inconsistent references to other building types such as ge and xie. A chronological review of ting&amp;rsquo;s architectural reveals significant changes in its historical forms and functions. In the Han dynasty (206 BCE &amp;ndash; 220 CE), ting was primarily a military facility of considerable height, later transitioning during the Wei-Jin dynasties (220 &amp;ndash; 420) into a geographical landmark and a venue for literati activities. By the Tang dynasty (618 &amp;ndash; 907), its elevated structure diminished, and its role in literati culture became more versatile. During the Song dynasty (960 &amp;ndash; 1279), ting evolved into a roofed open structure, closely associated with xie in the Yingzao Fashi. By the Ming (1368 &amp;ndash; 1644) and Qing (1644 &amp;ndash; 1912) dynasties, ting had stabilized as &amp;ldquo;an architecture with a roof but without enclosing walls,&amp;rdquo; characterized by its great flexibility in construction. This historical complexity makes coining a singular equivalent term for ting inadequate. Instead, this article advocates for thick translations that situate ting within its spatial-temporal context through illustrations, annotations, and detailed explanations, addressing its intricate historical and cultural nuances alongside related building types.

Reflection on the Spread of Chinese Popular Religion: A Case-Study of the Han Yu Belief in the Chaozhou Region

Han Yu 韓愈 was a prominent literatus in the Tang dynasty and an influential figure in the history of Chaozhou culture. From the Song dynasty, the Neo-Confucian teachings became popular, and Han Yu was revered as a significant pioneer; hence, his position was raised to a new height. In Chaozhou, local officials and the literati continuously emphasized Han Yu’s significance to Chaozhou culture and education and built many temples and academies devoted to him. As a deity, Han Yu was viewed as a representative of Confucianism and was typical of orthodoxy sacrifices. The present article clarifies the origination and transmission of the Han Yu belief in the Chaozhou region and explores the process of deification and the spread of Chinese popular religion. Although local officials and the literati spared no efforts in promoting the Han Yu belief, the belief never became popular among Chaozhou people. Local officials and the literati focused on different aspects of the Han Yu belief. They stressed the orthodoxy of the belief and were never concerned with miracles. What they were concerned with and endeavored for somewhat hampered the spread of the belief among the masses.