Yuan Dynasty Research Articles

Study on the Patterns of Porcelain of Yuan Dynasty in Beijing Area

In recent years, with the continuous discovery of porcelain in the Yuan dynasty in Beijing, the history of the Yuan dynasty, have been gradually rediscovered by the academic circle. The subject study of porcelain not only includes the craft analysis, origin discussion and artistic characteristics of the ware, but also the discussion of porcelain trade and cultural exchange. The ornamentation of the porcelain was a reflection of people’s social life in Mongolian Yuan period, through which people’s social life and spiritual world could be vaguely seen at that time. This paper classifies the subjects of porcelain decorative patterns, analyzes and sorts out the patterns in all kinds of subjects, and discusses their decorative techniques and social and cultural backgrounds, thus discuss further it discusses the life situation and national cultural characteristics of the people of different classes in the Yuan dynasty. Юань гүрний үед холбогдох Бээжин орчмын шаазан эдлэлийн хээ чимэглэлийн судалгаа Хураангуй: Сүүлийн жилүүдэд Бээжингээс Юань гүрний үеийн шаазан олноор олдсон нь Юань гүрний түүх, урлаг, эрдэм шинжилгээ, судалгаанд дахин анхаарал хандуулах болсныг илтгэнэ. Эдгээр шаазан эдлэлийн судалгааны сэдвүүд нь зөвхөн техникийн шинжилгээ, гарал үүслийн баталгаа, олдворын уран сайхны шинж чанараар хязгаарлагдахгүй, шаазан эдлэлийн худалдаа, соёлын солилцоо зэрэг өргөн хүрээний асуудлуудыг хамардаг. Юань гүрний үеийн шаазан эдлэлүүд нь тухайн үеийн нийгмийн амьдралын чухал тусгал байсан бөгөөд тэдгээрийн хээ чимэглэлээр дамжуулан тухайн үеийн ард түмний нийгмийн амьдрал, оюун санааны ертөнцийг харж болно. Энэхүү өгүүлэл нь Юань гүрний шаазан хээ чимэглэлийг судалгааны сэдэв болгон авч, түүний гоёл чимэглэлийн хээг ангилж, төрөл бүрийн сэдэвт хээ угалзыг шинжлэхийг зорьсон болно. Гоёл чимэглэлийн урлал, нийгэм, соёлын талаарх судалгаагаар дамжин бид Юань гүрний үеийн ноёд язгууртнууд, жирийн иргэд зэрэг нийгмийн давхарга давхаргын хүмүүсийн ахуй амьдрал, үндэсний соёлын онцлогийг судлах болно. Түлхүүр үгс: Юань гүрэн, Бээжин, хээ чимэглэл, шаазан, урлагийн онцлог

Architectural Imaginaries in Chinese Jiehua

A review of Leqi Yu, Painting Architecture: Jiehua in Yuan China, 1271–1368, Hong Kong: Hong Kong University Press, 2022, 216 pages, 54 halftones, 12 color plates. ISBN: 978-988-8754-23-6. Yu’s book on Yuan jiehua, a traditional Chinese painting genre centered on architectural subjects and tectonic structures, examines its relationship with real buildings, painters, and politics. This review highlights her discussions on architectural representations, focusing on her accounts of the degree of accuracy in pictorial depictions, utilization of modular systems by painters, and artistic techniques employed to achieve verisimilitude.

Building a Chinese ancient architecture multimodal dataset combining image, annotation and style-model

In this rapidly evolving era of multimodal generation, diffusion models exhibit impressive generative capabilities, significantly enhancing the realm of creative image synthesis by intricately textual prompts. Yet, their effectiveness is limited in certain niche sectors, like depicting Chinese ancient architecture. This limitation is primarily due to the insufficient data that fails to encompass the unique architectural features and corresponding text information. Hence, we build an extensive multimodal dataset capturing the essence of Chinese architectures mostly from the Tang to the Yuan Dynasties. The dataset is categorized on the types, including image&text, video, and style models. In details, images and videos are methodically categorized based on locations. All images are annotated at two levels: initial annotations and descriptive terms based on distinctive characteristics and official information. Moreover, seven artistic styles fine-tuning models are provided in our dataset for further innovations. Significantly, this is the first Chinese ancient architecture dataset and the instance of using the Pinyin system to annotate unique terms related to Chinese architectural styles.

Spatial and Temporal Evolution and Conservation Significance of Traditional Villages in the Yangtze River Basin, China

Traditionally, “ancient villages” are communities that date back to a previous era, possess abundant traditional resources, and hold significant historical, social, cultural, ecological, and economic significance. This study examines the geographical and chronological development of 2957 traditional communities in the Yangtze River Basin and extensively employs GIS spatial analysis, geostatistical analysis, and historical literature review to study the evolution of the locations of traditional settlements under various factors. The study’s findings revealed that: (1) From a geographical standpoint, the traditional villages in the study area present a distribution state of “two cores, small aggregation, and many dispersions”. The two core clusters are located at the intersection of Hunan, Guizhou, and Chongqing provinces, where the natural geographical advantages attracted people from different dynasties to settle here. (2) From a temporal perspective, the quantity of traditional villages shows a growing trend, and the distribution center of each dynasty shows an east–west direction. Among them, the shift from the Song to the Yuan dynasties marked the period of greatest change in village distribution, which originated from the Song Dynasty’s quick economic growth. In addition, the village distribution was clustered in the eastern part of the country, adapting to the needs of commercial trade. When the Song Dynasty fell, the society was in turmoil, and the villages were transferred to the central region to avoid the war. The Yuan Dynasty also laid down the fundamental distribution pattern of conventional villages. (3) From the standpoint of choosing a village location, most of them are distributed in mountainous, hilly, and plain regions; the gentle slopes of 0°~15° are favored by people. Sufficient water sources, abundant precipitation, and a suitable climate are also necessary choices. (4) From the perspective of driving factors, traditional village distribution in the basin is impacted by historical, cultural, social, and ecological factors. Included among these, traditional village distribution is inversely connected with socio-economic variables. Under the interaction of two factors, the distribution will be more affected. To summarize, the complex human geographic factors together create the conventional village dispersal pattern, and examining these elements holds substantial practical importance for comprehending, safeguarding, and preserving traditional villages.

Conservation of Yuan Dynasty Caisson Paintings in the Puzhao Temple, Hancheng, Shaanxi Province, China

Caisson paintings are an integral part of the unique interior decoration ceiling of traditional Chinese architecture. There are a large number of Yuan Dynasty caisson paintings in the Puzhao Temple, in Hancheng, Shaanxi Province, China. These caisson paintings have exquisite patterns and rich colors, which are rare artistic treasures of the Yuan Dynasty. In the history of nearly 700 years, due to various environmental and human factors, the caisson paintings have experienced various degradation; for example, the paper of the caisson paintings is acidified, the surface is polluted, the color is faded, mottled, and it is difficult to identify. Therefore, their protection is vital. In order to ensure the scientific and targeted development of the protection scheme, this study conducted a comprehensive and in-depth analysis of the paper fibers, pigments, adhesives, wood supports, and pollutants of the caisson paintings and carried out a series of protection experiments in the field and laboratory, providing a step-by-step review of the protection treatment application for the caisson paintings. Mechanical and wet cleaning were used to remove the pollutants. The caisson painting was deacidified with a barium hydroxide ethanol solution, and the paper and pigments of the caisson painting were strengthened with water-based fluorine. Several conservation problems, such as the removal of pollutants, the deacidification of acidified paper, and the reinforcement of flaking paper and pigments, were solved. Meanwhile, good conservation and restoration results for caisson paintings were obtained. This research method of combining theory and practice has greatly improved the scientificity and success rate of conservation work. These research results provide valuable experience and reference for other caisson paintings in similar environments.

State and law of the Chaghadai Ulus and early Timurid state as they were seen by foreign contemporaries

Research objectives: An analysis of official documents and notes of foreign contemporaries to clarify some aspects of political and legal life of the Chaghadai Ulus and early Timurid state in the 13th– beginning of 15th centuries. Materials and methods of research: The basic materials are official documents (diplomatic correspondence), travelers’ reports and notes, diaries and memoirs of travelers from different countries of Europe and Asia who visited the Chaghadai Ulus with different missions in the analyzed period as well as some official documents (diplomatic correspondence) between foreign and Mongol rulers. The methods of research are formal and historical legal research of historical documents, comparative legal analysis as well as historical approach in general. Scientific novelty: The state structure and legal relations in the Chaghadai Ulus and early Timurid state still have not been objects of special research. The author proposes to use works of foreign contemporaries as a tool to clarify some questions of political and legal life in the Chaghadaid state, finding similarities with other Chinggisid states and specific features of the region, its traditions, etc. Results of the research: The information of the analyzed historical documents, naturally, doesn’t allow one to reconstruct all aspects of political structure of Chaghadai Ulus and early Timurid state and their legal system in general, but adds valuable details to the information of other sources on history of this state – that is, historical chronicles (mainly of Timurid age) and legal monuments (khans’ yarliks and other official documents of the ulus). At that, we cannot ignore the fact that the Chaghadai Ulus before Timur was not considered as a full and authoritative member of international relations which is why contemporaries paid more attention to other Chinggisid states: The Golden Horde, Ilkhanate, Yuan Empire. However, the analysis of contemporaries’ notes could stimulate scholars to study some specific aspects of the Chaghadai Ulus’ history which were not researched before.

Applying Media and Virtual Approaches to the Institutionalization of Puzhou Opera

Puzhou opera, also known as Puju, originated in Puzhou in ancient China, which is now renamed as Yuncheng city, Shanxi province. Puju has been recorded since the Yuan dynasty and has become one of China’s most important operas because of its long history and influence on surrounding opera styles. This article explores challenges related to the institutionalization of Puju and how to use the modern technology of virtual media to ensure the sustainable development of traditional opera. In addition, as an insider of Yuncheng University, the researcher explored the application process of virtual media in promoting the institutionalized development of Puju and how to realize the learning, preservation, and inheritance of education and modern technology. To summarize, this study investigates the existing problems and challenges in using this virtual and media approaches and applies the media through virtual approach in the institutionalization of Puju to expand audiences and provide a new dissemination of opportunities.

Ptolemaic astronomy and its dissemination in the Islamic world, Europe, and Asia

Abstract The geometrical planetary models that the 2nd century Greek scholar Ptolemy introduced in his major astronomical work, the Almagest were highly influential for more than a millennium. This paper briefly describes the characteristics of these models and the way in which astronomical activities in the Islamic world developed on the basis of Ptolemy’s work. It then discusses three cases of transmission of Islamic astronomy to surrounding parts of the world, namely to China under the Mongolian Yuan dynasty (13th and 14th century), to India during the Mughal empire (c. 1730), where it was used together with the latest European astronomical tables and to Europe, where a mixture of early Indian and Ptolemaic astronomy that had reached the western Islamic world in the 10th century remained influential until the beginning of the Renaissance.

On the Phenomenon of Guan Hanqing’s “Big Heroine” Zaju Creation

In this work, there are eighteen existing plays by Guan Hanqing, among which there is a noteworthy phenomenon of “big heroine” zaju creation. These women have a clear self-awareness and a strong personality of respecting themselves. They are very clear about what they want, and in order to grasp their own destiny, they can make every effort to fight for it, and in the process, they show a firm and persistent will. They are both intelligent and brave, planning and acting later, and are resolute and calm. The reason why Guan Hanqing’s zaju creation featured the portrayal of “big heroine” in groups is partly because Guan Hanqing understood and appreciated outstanding women in real life, and was able to express his concern for the plight of lower class literati in the Yuan Dynasty through the portrayal of these female images. On the other hand, it is also a necessity for Guan Hanqing to contemplate the question of “who will save” in the face of chaotic times, and this is also the inherent mechanism that cannot be ignored in Guan Hanqing’s creation of zaju.

Bringing the queen mother of the west to life: Digital reconstruction and analysis of Taoist Celestial Beings Worshiping mural’s apparel

Abstract Painted during the Yuan Dynasty, Taoist Celestial Beings Worshiping is a Taoist propaganda painting. It is one of the largest surviving ancient murals worldwide, featuring a variety of images of these beings dressed in costumes that vividly illustrate the blend of religious and artistic values in Chinese culture. To record and present the mural more intuitively and improve the study of Taoist Celestial Beings Worshiping, this article takes the example of five goddesses centered Queen Mother of the West in the mural and analyzes the styles, structures, colors, and patterns of the costumes from the perspective of costume engineering. Human models are established and the costumes at multiple levels are reconstruction by means of 3D virtual simulation technology. The display images are accompanied by QR codes, which can be scanned to view the 3D model. Finally, the Fuzzy Analytic Hierarchy Process was used to comprehensively evaluate the reconstruction effect of clothing, and the result was “good.” The resulting digital figure can realize the “revitalization of cultural relics” and provides a new perspective for the digital exhibition of murals, which is conducive to the development of digital tourism and promotes the development of traditional culture.

Research on Image Tracing of Four Heavenly Kings in Fahai Temple

Fahai Temple in Beijing is the royal temple of Ming Dynasty. The mural paintings in the temple are relatively complete, and the mural paintings are the representative works of the existing Ming Dynasty mural paintings. This paper chooses this representative artistic content to analyze, and tries to explore and analyze the style source and embodiment of the four heavenly Kings in the frescoes of Fahai Temple. By comparing with the images of the four Heavenly Kings in the Great Tibetan Sutra of Xixia Text in the sixth year of the Yuan Dade and the four Heavenly Kings in the Yuan Guan Zang in the second year of the Yuan Dynasty, it is found that the four Heavenly Kings in the frescoes of Fahai Temple originally came from here. And compared with the style of the Southern Song Dynasty courtyard painting and Tibetan Buddhist art, find out the style source, and finally analyze the image artistic value of the fresco in Fahai Temple. ??According to the research from various aspects, it can be concluded that the fresco powder of the four Heavenly Kings of Fahai Temple originally originated from the Tanguan Sutra and the Yuanguanzang in the Yuan Journal, and the style inherited the style of the Southern Song Dynasty courtyard painting and also had many features of Tibetan Buddhism.

고려말 새로운 정무 처결 모델의 등장: 공민왕의 報平廳 聽政

This paper traces the meaning of “handling matters of state(聽政)” discussions in Goryeo(高麗). From the reign of King Wu(禑王) onwards, the officials(官人) continuously petitioned the king for the implementation of 'handling matters of state'. Rather than being a generic term for the resolution of political affairs, the term came to refer to a specific form of political decision-making process: the king would receive a council of officials, report on their affairs, and make decisions regarding them. Where, then, did the officials' idea of a specific form of “handling matters of state” come from? How did the practice of this idea begin? Why did officials continue to petition for the implementation of handling matters of state? This paper attempts to answer these questions. First, where did the idea of “handling matters of state” come from and how was it implemented? I turned my attention to the Ming Emperor Taizu(太祖)'s letter sealed with an imperial seal(璽書), received in the 19th year of King Gongmin(恭愍王). In this letter, the emperor insisted that the King should have a fixed place to show dignity to his subjects. A few months later, the first “handling matters of state” was carried out at Bopyeongcheong(報平廳). The process of preparing for the “handling matters of state”, including the erection of the “no-frills” folding screen, is interpreted as a demonstration of the king's dignity. However, King Gongmin reduced the number of “handling matters of state” from the original plan, and even then, they seem to have been seldom executed. Subsequent kings also practiced “handling matters of state”, but only intermittently and sporadically. The reason why kings did not enforce “handling matters of state” is because, since the Yuan(元) Dynasty, they were able to handle most of their affairs through a small circle of entourage. King Chungryul(忠烈王)’s bītīkchī(必闍赤) and King Gongmin's inner cabinet(內宰樞) were symbolic institutions that represented aspects of such entourage politics. Under these circumstances, the officials were critical of the dominance of a small circle of officials and sought to change the political decision-making model of the time by expanding the contact between the king and the officials. They mobilized the “handling matters of state”, which they had done several times before, and petitioned for its implementation. The officials chose the “handling matters of state” model because it allowed them to report directly to the king and receive decisions from him, creating more contact between the king and officials.

From Dreaming to Forging Ahead ——Analysis of the Ideological and Political Elements of the Curriculum in the Growth Experience of the Four Masters in Jin and Yuan Dynasties

Chinese medicine is an important resource and excellent carrier for carrying out ideological and political education based on excellent traditional culture. From the experience of famous doctors of traditional Chinese medicine and the teaching of biographies, we can purify the purpose of practicing medicine, learn the way of refinement, understand the principle of fame, and practice the benevolence of doctors to effectively improve the quality of ideological and political education in the classroom from multiple angles and stages. Compared with the above four aspects, it points out that the growth experience of the four masters in the Jin and Yuan Dynasties is closely related to the spirit of "respecting and protecting life, saving the dying and healing the wounded, being willing to dedicate, and loving people without boundaries", analyzes the ideological and political elements of the curriculum with "cultural people, moral people, and medical talents" as the main body, and points out that the growth experience of the four masters in the Jin and Yuan Dynasties can enrich the basic knowledge of Chinese medicine and shape the soul of Chinese medicine literacy, Promote the profound skills of traditional Chinese medicine to carry out ideological and political education.

Study of black glaze and sauce glaze porcelains from Dangyangyu kiln during the Song and Jin Dynasties, China

In the Song and Yuan Dynasties of China, numerous renowned kilns simultaneously employed black glaze and sauce glaze porcelain; however, limited research has been conducted on the differentiation of process systems and the potential existence of a transforming relationship between these two types of porcelains from the same kiln. In this study, the black glaze, sauce glaze and flambé (窑变, Yaobian) glaze porcelain from Dangyangyu kiln during the Song and Jin Dynasties were selected to compare their optical characteristics, firing and formula process via OM, LRS, SEM-EDS, XPS, DIL and EDXRF methods. The research reveals that notable distinctions exist in the glazing process between black glaze and sauce glaze porcelain; while the former demonstrates thicker glazing techniques, the latter showcases thinner glazing techniques. Sauce glaze porcelains undergo firing at high temperatures within strong reducing atmospheres and differs from black glaze in terms of their formulation processes. The sauce glaze is composed of high Al clay with a low flux content, making it a calcium-alkali glaze. On the other hand, the black glaze has a higher flux content and falls under the category of high calcium glazes. Through the investigation of flambé glaze, it was observed that despite a thicker black glaze layer does not promote Fe enrichment on the glaze surface, however, when the flux content in the glaze is lower, meanwhile accompanied by a high temperature and strong reducing atmosphere firing process, the glaze exhibits a dynamic tendency towards the formation of sauce coloration.

Exploring the Fate of Common People in Feudal Society: A Case Study of The Lute

In the Yuan Dynasty, common people referred to those living at the lower strata of society, including the proletariat or small producers. Yuan Dynasty dramas depicted numerous images of common people. This paper begins with the image of common people and takes the Yuan Dynasty southern drama The Lute as its text. It deeply analyzes the fate trajectory of Cai Bojie and Zhao Wuniang, who represent common people in feudal society, exploring the reasons behind such tragic fates. Furthermore, it excavates the enduring literary value and contemporary significance of The Lute. The Lute not only reflects society and the era from a literary and artistic perspective but also perceives the tragic fate of common people during the feudal period. Indirectly, it demonstrates the significant contribution of traditional Chinese opera to the reconstruction of cultural concepts and moral-ethical notions.

Microscopic study on characteristic decorative black and white porcelain produced in Shanxi province, Jin and Yuan dynasties (ad 1115–1368), China

AbstractBlack and white porcelain plays a critical role in Chinese decorative porcelain history. It is famous for its decorative styles and techniques, which create a strong black and white color contrast in its appearance. In this study, representative black and white porcelains produced in Shanxi province were analyzed by X‐ray fluorescence, Raman spectroscopy, and SEM‐EDS. The results show that both Ca‐rich (~5.33 wt%) and Ca‐poor (~1.99 wt%) glazes were used leading to quite different microstructures. The pigment particles of Ca‐rich glazes are characterized by small size (≤2 μm), wide distribution, and tightly wrapped by anorthite. In contrast, they are larger (≥2 μm) and tightly cumulated together in Ca‐poor glazes. Hematite is the major crystal in pigment, double‐substituted by Al and Ti. The Al/Fe ratios are similar, but Ti/Fe ratios are quite different: They do not exceed 0.03% in Ca‐poor glazes, whereas they reach 0.12% in Ca‐rich glazes, suggesting that the origin of the pigments must be different. Al‐rich mineral such as kaolin was added to the pigment preparation in Ca‐rich glazes. The color of the pattern is mainly influenced by the size, quantity, and concentration of brown Ti‐doping hematite, as well as the thickness of the glaze layer and other crystals and Fe ions. The fired atmosphere of Ca‐rich glaze type seems less oxidizing than for Ca‐poor glaze type. Overall, the results confirm that black and white porcelain has a variety of production techniques, which is attributed to the craftsman adjusting the techniques according to the composition of raw materials.

A Brief Discussion on the Development and Inheritance of Chinese Woodblock Printing Art

Chinese woodblock printing art, as an ancient art form, carries the long history and profound cultural heritage of the Chinese nation. From the emergence of woodblock printing technology in the Tang Dynasty, to the prosperity of the Song and Yuan Dynasties, and then to the diversified development of the Ming and Qing Dynasties, woodblock printing not only witnessed the changes in Chinese society, but also reflected the aesthetic tastes and spiritual pursuits of people in different historical periods. Since modern times, woodblock prints have continuously integrated new artistic concepts and techniques while inheriting tradition, showcasing a unique style of the times. However, in the era of globalization and modernization, this traditional art form faces challenges in inheritance and innovation.

Exploration of Language Landscape and Optimization Strategies in Beijing's South Luogu Lane

South Luogu Lane is the oldest neighborhood in Beijing, preserving the architectural style of the Yuan Dynasty's alleyways, attracting a large number of domestic and foreign tourists. This study focuses on the official and private language landscapes of its main street. Through field visits and photographic documentation, the authors found that the national language dominates, accompanied by English translations, facilitating foreign tourists. However, there are issues of inconsistency and lack of uniformity in the language landscape, such as inconsistent positioning and font sizes. These problems affect the cultural image of South Luogu Lane. Therefore, the authors propose optimization strategies to strengthen the protection of the cultural landscape and promote the sustainable development of South Luogu Lane. The authors hope that these measures will enhance the cultural value of South Luogu Lane, provide a better experience for tourists, and promote its influence as a cultural symbol of Beijing.

The Origin and Evolution of the Paired Animals on Chinese Swords

This article explores the historical evolution of paired animal motifs on Chinese swords, highlighting their transformation from symbols of wealth to emblems of royal power. Originating from Persian textile designs, these motifs entered Chinese culture during the sixth and seventh centuries through Sino-West Asian cultural exchanges. Initially, these motifs reflected exotic tastes and wealth among the Chinese elite. However, with the establishment of the Yuan Dynasty, these motifs were recontextualized as symbols of royal authority. The study traces this cultural journey, examining how Persian artistic traditions were adapted and institutionalized within Chinese imperial iconography, particularly during the Ming and Qing dynasties. Through a detailed analysis of swords and textiles, the paper illustrates the continuity and transformation of these motifs, emphasizing their significance in reflecting broader cultural and political shifts in ancient China.

Per Capita Cropland Estimations for Traditional Agricultural Areas of China over Past Millennium

Studying changes in land use per capita is critical for understanding the interactions between humans and ecosystems, and for modeling the impacts of land use changes on climate systems. However, many uncertainties in historical estimates significantly hinder climate modeling. This study estimated the per capita cropland area in traditional agricultural regions of China over the past millennium using historical-document-based and modern statistical cropland and population data. The findings showed that changes in the per capita cropland area in the provinces of the middle and lower reaches of the Yellow River could be characterized into three stages: slow decrease, rapid increase, and fluctuating decrease, whereas, in the provinces of the middle and lower reaches of the Yangtze River, there was a continuous decrease. Spatially, the per capita cropland area was higher in the middle and lower reaches of the Yellow River and lower in the middle and lower reaches of the Yangtze River during the study period. The per capita cropland areas showed clear differences in the HYDE dataset and our study; the corresponding values of our study were 2.1–8.0, 1.7–8.2, and 1.6–8.8 times higher than those from the HYDE dataset for the early Song, Yuan, and Ming dynasties, respectively.