Song Dynasty Research Articles

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

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 “kiosk,” “gazebo,” and “pavilion” 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’s architectural reveals significant changes in its historical forms and functions. In the Han dynasty (206 BCE – 220 CE), ting was primarily a military facility of considerable height, later transitioning during the Wei-Jin dynasties (220 – 420) into a geographical landmark and a venue for literati activities. By the Tang dynasty (618 – 907), its elevated structure diminished, and its role in literati culture became more versatile. During the Song dynasty (960 – 1279), ting evolved into a roofed open structure, closely associated with xie in the Yingzao Fashi. By the Ming (1368 – 1644) and Qing (1644 – 1912) dynasties, ting had stabilized as “an architecture with a roof but without enclosing walls,” 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.

Brief investigation on the development of ancient pizhen: a discussion on the production and dissemination of its knowledge

Pizhen is one of the ancient nine needles recorded in Lingshu (Miraculous Pivot), used for pricking pus initially; and it is extensively operated to treat sores and ulcers in the later dynasties. Since the Song and Ming dynasties, there were the changes in the material, form and application scope of pizhen in surgery. By analyzing the representative surgery works, it was found that there were four kinds of pizhen in its evolution, including sword-like needle, triangle-like needle, willow-leaf-like needle and slant type. The action scope was expanded, removing carbuncle, draining pus and cutting off masses and rotten muscles besides pricking pus, blood and harmful fluids. Since the introduction of surgical technology, pizhen almost disappeared in surgery. The paper analyzes the evolution routes of this ancient needle and its influence factors from the perspective of knowledge development. It is summarized that the development of pizhen is related to the approaches to the knowledge production of acupuncture-moxibustion and its inheritance, the limitation of the dissemination of pizhen technique and lack of theoretical derivation.

The Reconstruction of Female Images in the English Translations of Shui Hu Zhuan

ABSTRACT Shui Hu Zhuan, a classical Chinese novel, depicts an uprising led by Song Jiang that took place in the late Northern Song Dynasty (960–1127). Characteristically, most women in Shui Hu Zhuan are portrayed negatively, showing a misogynistic tendency. This study aims to examine the female images in the four full English translations of Shui Hu Zhuan to explore how the translators reconstructed the negative portrayal of women by the original narrator with the theoretical guidance of feminist translation theory and strategies. The translators of the four translations are from different socio-cultural backgrounds and serve different publishers and publishing purposes; therefore, these socio-cultural factors influencing their reconstructions of female images are also discussed in this study.

Diversified Communication and Harmony of Chinese culture: a historical investigation into the religious-culture exchanges among the Hans, Tibetans, and Mongolians

How can harmonious communication, integration, and coexistence among different ethnicities with distinct cultures be achieved in a multi-ethnic country? What lessons can we draw from China’s multi-ethnic cultural exchanges throughout history? Are Confucianism, Daoism, and Buddhism exclusive to the culture of the Central Plains? These questions are essential for forging a sense of the Chinese nation as one community and building a shared cultural home of the Chinese nation. Throughout Chinese history, the Han, Tibetan, and Mongolian ethnicities have engaged in mutual exchanges and integrations of their respective religious-cultures, fostering mutual promotion and collective growth, leaving behind valuable experiences that shaped the Chinese cultural pattern of “Diversified Communication and Harmony.” Drawing upon extensive literature and materials documenting the religious-culture exchanges and interactions among the Han, Tibetan, and Mongolian ethnicities since the Tang and Song dynasties, this article investigates the interaction, exchange, and integration history of religious-culture among these ethnicities, aiming to explore the historical evolution of this pattern of “Diversified Communication and Harmony”.

Research on Current Situation and Development of Publicity and Popularization of Modern Stage Drama Based on Social Media Perspective

In the CMG 2022 Spring Festival Gala, the stage poem "Only This Green" left a deep impression on all audiences at home and abroad. The dancers interpreted "Thousands of Miles of Rivers and Mountains" through beautiful postures and movements, which is the only work of Wang Ximeng, a famous painter in the late Northern Song Dynasty. This stage play perfectly combines traditional Chinese art forms and modern stage performing arts culture, which has caused a great response. Therefore, this study discusses how contemporary modern stage plays or musicals can increase traffic under the influence of mainstream media applications and explore whether there is a "link to promote the development of this art form". Different representatives of Chinese classical art are combined with modern stage plays, resulting in linear regression. In addition, the communication data of different applications is gathered together for research to understand whether adding popular IP or "links" can promote the promotion and publicity of modern stage plays and increase traffic exposure.

Innovative Presentation of Song Dynasty Painting Art in Contemporary Curatorial Exhibitions

Song Dynasty paintings have occupied an important position in the history of Chinese and even world art with their unique artistic language, profound cultural connotation, and excellent skills. With the growing maturity and diversification of contemporary curatorial concepts and the development of culture + technology, the way of displaying Song Dynasty paintings is also changing. This study focuses on how Song Dynasty paintings are innovatively presented in contemporary curatorial practice, aiming to explore the reasons behind this innovation, the content of the practice, and the far-reaching impact of this exploration on the inheritance and development of Song Dynasty paintings, as well as on their dissemination, through literature analysis, case studies, and field visits. It is found that contemporary curation, through the use of digital technology, interactive experience, and other innovative means, has successfully presented the art of Song Dynasty paintings to the audience in a more vivid and intuitive way, which greatly enhances the audience's viewing experience and depth of understanding. This exploration not only enriches the form and connotation of art display, but also provides new ideas and paths for the inheritance and development of traditional culture, which is of great significance to the promotion of the international dissemination and protection of Song Dynasty painting art.

A Review of the Research on the Origin and Connotation of the Theory of "When There is Inequality, There is a Cry"

Han Yu is a very important figure in the history of Chinese literature and thought. Su Shi of the Song Dynasty once evaluated his contributions as "the rise of literature and the decline of eight generations, and the drowning of the righteous". His theory of 'When there is inequality, there is a cry' is one of the famous poetic theories in ancient China, which has always been highly valued. However, researchers have different opinions on it, and there are also significant differences. This article focuses on the origin and connotation of the theory, and provides a research review based on the research of modern scholars on the concept of "inequality leads to prosperity".