Chinese history (History)

Premiered in London twelve years after the unsuccessful return of the first British embassy to China, led by Lord George Macartney, Domenico Corri's five-act ‘dramatic opera’,The Travellers, or Music's Fascination(1806), is a unique work exhibiting concrete connections to the embassy in its dramatic concept, musical and visual sources. This article explores how the subject of the opera – tracing the ‘progress of music’ from China to Britain – reflected the contemporary discussion about Chinese music, articulated most clearly by Charles Burney, who held a significant interest in the embassy's musical exchange. By incorporating a Chinese melody and ‘realistic’ visual representation connected to the embassy, the opera reconstructs certain ceremonies and musical experience witnessed by the members of the embassy. Interestingly, the opera balances first-hand knowledge of Chinese music and culture with an emerging imperialist view, and dramatises the aim of the embassy to show...

Los dias 20 y 21 de noviembre de 2015 tuvo lugar en San Jose, el III Simposio Internacional de Estudios sobre China desde (Latino) America: A 160 anos de la llegada de los chinos a Costa Rica , organizado por el Instituto Confucio y la Escuela de Lenguas Modernas de la Universidad de Costa Rica, y HANBAN, sede central de los Institutos Confucio en China. Esta actividad rindio tributo a un grupo etnico costarricense con una marcada y duradera influencia sobre la cultura del territorio, y reunio a distintos grupos de la comunidad china con academicos universitarios que han investigado los procesos de insercion de los chinos en Costa Rica y el continente americano.

The problem in this research derived from the fact that many Lasem batik entrepreneurs nowadays had limited knowledge of the novel characteristics of Lasem batik and hardly aware of its geographical indication. The research objective was to identify how the cultural hybridity of Chinese-Javanese culture and Lasem geographical environment were reflected by both the Tionghoa Peranakan-descent and Javanese-descent artists through the visual signs in the batik design. The purposive samples used were 21 Lasem batik motifs made by Tionghoa Peranakan-descent and Javanese-descent entrepreneurs which already IPR-certified. The method used was a compositional interpretation by interpreting each batik motif composition according to its content (subject matter), color, spatial organization, and expressive content (the combined effect of subject matter and visual form). The finding reveals that Lasem visual style hybridity is generally visible in: (1) the use of Chinese subject matter combined w...

Resumo: O presente artigo tem como proposta aproximar o daoísmo, tradição filosófica e religiosa chinesa que data de mais de dois mil anos, ao anarquismo. Para se atingir este fim, em um primeiro momento, será feita uma análise comparativa de conceitos base presentes nos dois sistemas de pensamento, onde procurar-se-á demonstrar algumas ideias e atitudes que são compartilhadas, em maior ou menor grau, por ambos. Em seguida, trechos dos dois livros clássicos do daoísmo serão utilizados, nomeadamente o 道德經 Dào Dé Jīng de 老子 Lǎozǐ e o 南華經 Nán Huá Jīng de 莊子 Zhuāngzǐ, para apontar e exemplificar estes conceitos em comum, partindo do pre-suposto de que os pensamentos anarquistas foram construídos ao longo da história, tendo surgido muito antes do estabelecimento do anarquismo como movimento político-social, no final do séc. XIX.
Palavras-chave: Daoísmo; anarquismo chinês; Dao De Jing; Nan Hua Jing

Abstract: This article proposes to bring Daoism, a Chinese philosophical and religious tradition that dates back more than two thousand years, to anarchism. To achieve this end, at first, a comparative analysis of the basic concepts present in the two systems of thought will be carried out, where some ideas and attitudes will be demonstrated that are shared, to a greater or lesser degree, by both. Then, excerpts from the two classic books of Daoism will be used, namely the 道德經 Dào Dé Jīng by 老子 Lǎozǐ and the 南華經 Nán Huá Jīng by 莊子 Zhuāngzǐ, to point out and exemplify these common concepts, starting from the assumption that Anarchist thoughts were built throughout history, having emerged long before the establishment of anarchism as a socio-political movement, at the end of the 19th century.
Keywords: Daoism; Chinese anarchism; Dao De Jing; Nan Hua Jing

EDUCATION ABOUT ASIA Volume 11, Number 3 Winter 2006 “On June 29, 1900, I, together with the ‘headquarter’ [commanding officers] of the 7th Rajputs, a Bengal regiment, boarded the ship Palamcotta at Calcutta.” This opening line sets the stage for Chin meh Terah Mas (Thirteen Months in China), an account of a “yudh yatra” or war travel (yatra also means a journey, tour, trip, or pilgrimage) penned by an Indian subaltern named Thakur Gadhadhar Singh. He was a subaltern both in the military sense (i.e., a subordinate Indian noncommissioned officer) and in the postcolonial sense (i.e., a marginalized and colonized person).1 As many travel narratives do, Singh’s China story signals its itinerary right from the first step. The title itself is revealing. Parenthetically subtitled Chin Sangram (The China War), it identifies itself on the cover as offering “a full eyewitness account of the great war in China in 1900–1901 A.D., and a brief history of China and Japan, customs and practices, Ch...

小乘佛教认为“人无法有”，即自我并不存在，但外在世界是真实存在的；大乘唯识在小乘佛教的基础上，认为“唯识无境”，即唯有心识存在，而外部世界并不真实存在；大乘中观则更进一步，认为连心识都不存在，“诸法皆空”。

通过论证五蕴应被视为“觉知”或“意识”（也即大乘佛教所说的“心识”），我们将《心经》中开宗明义的“五蕴皆空”解读为连心识也不存在；显然这与大乘中观的观点相同。

而接下来那句著名的经文“色不异空，空不异色，色即是空，空即是色，受想行识亦复如是”正是对上述观点的论证和解释，我们把它解读为：心识的生起离不开已被唯识实证为空的对境的生起，已被唯识实证为空的对境的生起也离不开心识的生起；所以可以把心识就看作对境，或把对境就看作心识。因此，最终想要论证的是，心识也是空的，并不会独立存在；这与中观反驳唯识的逻辑如出一辙。

可见，《心经》的本质是运用逻辑对唯识观点进行驳斥，从而得出“诸法皆空”的结论。而“无我”和“心识并没有对境”这两个观点在此之前就已经是确立了的，它们是《心经》的前提和基石。

最后，按空性的次第，小乘佛教讲的是“五蕴无我”，大乘唯识讲的是“五蕴无对境”，大乘中观讲的是“五蕴皆空”。

Significance: Political power was embedded in Chinese culture in extraordinarily intense and uniquely complex ways. For instance, University of California, Berkeley, Professor Frederick Wakeman characterized the contested relationship between imperial rulers and their scholarofficials as “counterpoised collaborators.” The court and the social elite shared considerable interests in “parenting” the people, but Chinese elites nevertheless held diverse views and approaches to state ideology, cultural values, social norms, and state policies, etc. Whereas the landed aristocracy of Europe ruled, educated men of imperial China only governed and only outside of their home prefectures. The qualifying requirement that ministers successfully pass the civil service examinations placed more emphasis on a constructed and evolving canon of cultural knowledge as the justification of power (and as a practical tool for its implementation). In contrast to the “divine right of kings” in Europe, Confuci...

How is it possible to comprehend and assess the impact of the Qur’an on the literary expressions of the Hui Chinese Muslims, who have been integrated into Sinophone and China’s multicultural community since the third/ninth century, when the first ‘translations’ of the Qur’an in Chinese made by non-Muslims from Japanese and English appeared only in 1927 and 1931, and that by a Muslim from Arabic in 1932? This paper looks at the ways in which the Qur’an is imagined, then embodied, in literary texts authored by two prizewinning Chinese Muslim authors. Huo Da (b. 1945) alludes to the Qur’an in her novel The Muslim’s Funeral (1982), and transforms its teachings into ritual performances of alterity in her saga of a Muslim family at the turn of the twentieth century. Zhang Chengzhi (b. 1948) involves himself in reconstructing the history of the Jahriyya Ṣūfī sect in China between the seventeenth and nineteenth centuries in his only historical novel, A History of the Soul (1991), and invent...

Paul Clifford (comp.) https://libros.colmex.mx/tienda/historia-documental-de-china-vol-i/ El presente libro proporciona al lector elementos de análisis y datos para profundizar en la exploración del polémico tema del proceso político chino. China, que era un país atrasado, pobre y semicolonial, se ha convertido en una nación orgullosa, independiente y de rápido desarrollo. Es innegable la importancia de este país en la comunidad mundial, proporcional a su población, que llega ya a los mil millones de habitantes.

Harriet Evans https://libros.colmex.mx/tienda/la-historia-de-china-desde-1800/Describe en detalle los episodios más importantes de la difícil trayec- toria china hacia la liberación. Complemento indispensable de otro li- bro sobre el mismo tema publicado también por El Colegio de México: China: su historia y cultura hasta 1800, de Flora Botton Beja.

Arthur Golden's Memoirs of a Geisha is an account of Geisha's life; a life of struggle, and surrounded by various artistic practices where Geisha have no time for themselves. Their life seems glamorous and exciting to the outside world, however, in reality, it is pathetic and an isolated one. The aim of this paper is to focus on the origin of Geisha tradition, which is considered as a cultural heritage of Japan. Simultaneously, the paper throws light on various issues such as the role of tradition, culture, history, economy, and prostitution which contribute to the marginalisation of Geisha in personal as well as social arenas. The paper also deals with the reasons which blur the distinction between Geisha tradition and prostitution. To facilitate the interpretation of Geisha tradition, cultural construction of gender roles has been taken into account.

This study, emphasizing recently discovered bamboo manuscripts as both cultural documents and material objects, investigates the active and autonomous roles played by the scribes of the Tsinghua manuscript collection. Because pre-imperial textual culture has been presented as having tremendous orthographic flexibility and textual fluidly, the codicological and paratextual properties – titles, slip numbers, punctuation marks, verso lines, etc. – have often been considered as being applied without any overarching rules. Yet despite the difficulty of finding any consistent pattern of material design throughout the entirety of pre-imperial manuscripts, within the Tsinghua University collection, I have found not absolute, yet clear overlaps among the codicological and paratextual designs and the classifications of scribal hands. These overlaps indicate that titles, slip numbers, and punctuation marks were deeply associated with the scribes or producers rather than with the readers or users. Most of the punctuation marks should be viewed as a regulation or instruction for the text’s correctness rather than some readers’ understanding or interpretation. Altogether, these purposeful, pragmatic, and surprisingly advanced paratextual devices resonate with the producers’ deepening concerns about textual loss, and show local and even individual efforts and methods to organize and stabilize the ever-changing textual lore.

出土文獻不僅被視作早期中國的文字記錄，更是當時知識活動的物質遺存。本文檢視戰國寫本在製作過程中書手的能動作用，並探討竹書中一系列副文本（paratext）特徵的意義。在以往的研究中，作爲先秦寫本流動性的一環，學者們普遍認爲楚竹書的物質特徵往往呈現出大體上“隨機”的特質；但在清華竹書中，我們發現不少副文本特徵，如篇題、簡號與標識符號的分類都與筆迹分類高度吻合，可見不少副文本的設置與形制特質都與書手密切相關，並非完全“隨機”。由此來看，書手在掌控文字内容之外，或許對文本的物質形態、文本與文意的固定也發揮了關鍵作用。換言之，清華簡的多數篇題、簡號與標識符號更可能來自書手，而非讀者，它們源自竹書的製作過程，而非某一讀者的閱讀過程；這些副文本信息標誌了竹書製作者試圖控制與固定竹書文本的指稱、完整、順序與意義的種種努力。卽是説，清華簡副文本的設置是實際的、伴隨著明確功能的，且與早期文獻中多見的“文獻之丧失”的主題呼應。尽管文獻知識終究面臨喪亂的命運，但從清華竹書的形制與副文本特質中，也可見先秦學人抵抗文本流動變換的願景、方法與實踐。

Russell Maeth (ed.), Flora Botton Beja y John Page (colabs.) https://www.jstor.org/stable/j.ctv26d8dj  Un intento por dar a conocer algunos de los aspectos más signifi- cativos de este importante periodo de expansión, consolidación y prosperidad chinas, mediante la selección y la traducción de fuentes originales por un equipo de especialistas de El Colegio de México y varios universitarios chinos. También se incluyen análisis histórico, literario y filosófico con interesantes descripciones de las pasiones y del pensamiento de la época.

A short bilingual essay for Bonhams auction house on the narratives and stories found on porcelain from 17th century China. 17th century porcelain was particularly rich in narrative scenes due to specific historical and socio-economic circumstances. By the late Ming dynasty, the Court was ailing financially and cut down commissions of Imperial porcelain at Jingdezhen (usually decorated with dragons and phoenix etc). This left a gap in the market and the potters in Jingdezhen had to create a new market for themselves to survive. This coincided precisely with a boom in the publishing industry, with advances in woodblock printing and the growth of a middlebrow readership. This was the golden age of the Chinese vernacular novel: classics such as Romance of the Three Kingdoms, Outlaws of the Marsh, Journey to the West and The Plum in the Golden Vase, were all published with luxurious woodcut illustrations during this time, providing the perfect inspiration for potters to decorate their porcelain for gentry and fill the gap in the market left by the Court.

https://reaktionbooks.co.uk/work/china-in-seven-banquets

China in Seven Banquets ranges through 5,000 years of China’s food history in seven iconic meals, from the opulent Eight Treasures fête to the ‘Tail-Burning’ banquet of the Tang Dynasty and the Qing court’s extravagant ‘complete Manchu-Han feast’. We also experience lavish repasts from literature and film, a New Year’s buffet from 1920s Shanghai and a delivery menu from the hyper-global twenty-first century, and even peek at the tables of the not-so-distant future. Drawing upon decades of experience eating his way around China, Beijing-based historian Thomas David DuBois explains why culinary fashions come and go, as well as recreates dozens of historical recipes in a modern kitchen. From fermented elk to absinthe cocktails, this is Chinese food as you’ve never seen it before.

Pour nous repérer dans ce roman chinois foisonnant, nous allons utiliser des techniques assez classiques. Repérer les personnages principaux, voir s’il se succèdent ou s’ils alternent en se renvoyant l’un à l’autre (comme dans les techniques narratives « d’entrelacement » qui sont utilisées à la même époque en Europe), et donc porter attention aux formules qui avertissent le lecteur du changement de personnage. Tantôt on suit l’un, tantôt on suite l’autre – mais nous allons voir qu’il y a plusieurs façons d’organiser ce montage.

《越公其事》收錄於《清華大學藏戰國竹簡》的第柒輯，全篇共計75簡，分成十一章，內容敘述勾踐敗逃至會稽山麓，最後勵精圖治，消滅吳國的過程。
第十章的大意是說，勾踐完成「五政」以後，以自焚舟室測試成果，越人無不前仆後繼救火，王大喜，自知反攻時機已然成熟。勾踐精選六千名心腹部隊，令邊人刻意挑起吳越的怨恨，並將士卒分成左右兩軍，趁著黃昏命令左軍溯江而上五里，右軍順水而下五里，中夜兩軍渡過江水，鳴鼓待命，吳國部隊聽聞鼓聲大驚失色，夫差在驚慌失措中將部隊分成兩軍以抵禦越軍，此刻氣定神閒的勾踐派出心腹部隊靜悄悄地渡江，給予吳軍正面痛擊，使得吳軍大亂，接連在笠澤、沒溪、城郊三次敗戰，越軍在吳人昆奴的幫助下進入吳國，並給予吳國襲擊，為夫差亡國沒身（第十一章）留下伏筆。

SUMMARY: 1. LEAVING IT TO BRITAIN – 2. PRESIDENT HARDING – 3.  LAUSANNE TREATY – 4. [DIVORCE REPORTS] RESTRICTION BILL – 5. KENYA PROBLEM – 6. THE DANCING CRAZE – 7. CABINET RESIGNATION POSSIBLE – 8. LONDON’S POLICE – 9. OCCUPATION OF THE RUHR – 10. SERIOUS [GERMAN] RIOTING – 11. TROUBLE IN CHINA – 12. THE AMERICAN VIEW – 13. GERMANY AND THE LEAGUE – 14. INCIDENT IN A COACH – 15. NAVAL TEST – 16. NON PERSONA GRATA – 17. CHAOS IN CHINA – 18. CROWDS FOR USA – 19. [BRITISH] NAVY AND AIR FORCE – 20. PRESIDENT DEAD – 21. THE NEW PRESIDENT – 22. SAKHALIN ISLAND – 23. SINGAPORE BASE – 24. CRISIS IN SPAIN – 25. SOVIET TERRORISM DENOUNCED – 26. OUTRAGE IN INDIA – 27. BOLSHEVIK MISSION – 28. THE PERILS OF PALESTINE – 29. RUSSIANS AND MONGOLS – 30. RESISTENCE IN THE RUHR – 31. [SINGAPORE] KEY TO THE PACIFIC – 32. ANOTHER ICE AGE – 33. THE DRUG HABIT – 34. CIVIL WAR DEPRECATED – 35. CUNO TO REMAIN IN POWER – 36. GERMANY WITHOUT HOPE – 37. THE CHAOS OF LIVING – 38. CONGRESS SCIENCE IN PACIFIC – 39. GERMAN CRISIS – 40. THE NEW [GERMAN] CABINET – 41. ANNIVERSARY OF THE REPUBLIC – 42. LAUSANNE DEBACLE – 43. RUSSIAN NEWS – 44. IMMIGRATION TO THE USA – 45. STRESEMANN IN OFFICE – 46. THE MAN FOR THE HOUR – 47. THE FRENCH FLEET – 48. [GERMAN] CRISIS ENDED – 49. TO STABILISE THE MARK – 50. SLAVERY IN AFRICA – 51. AMERICA’S FOREIGN POLICY – 52. RUSSIA UNDER SOVIET – 53. HAREM SYSTEM ENDING – 54. FRANCE’S ATTITUDE – 55.  M. POINCARÉ MELTING – 56. AFFAIRS IN GERMANY – 57. DECANDENCE IN GERMANY – 58. TUBERCULOSIS – 59. CREDIT COLLAPSED – 60. [REICHSBANK] PRESIDENT RESIGNS – 61. FRENZIED NOTE PRINTING – 62. A LEVY ON CAPITAL – 63. GREAT AIRCRAFT [FOR EMPIRE SERVICES] – 64. GERMANY’S DILEMMA – 65. CHANCELLOR’S STRAIGHT TALK – 66. LESS [JAPANESE] WARSHIPS – 67. LIFE IN TANGANYKA – 68. THE KENYA GRIEVANCE – 69. RETALIATORY MEASURES – 70. SPECULATION PROHIBITED – 71. STUDY OF EARTHQUAKES – 72. THE COLOUR LINE – 73. SCIENTIFIC DISCOVERY – 74. PROBING THE PACIFIC – 75. RUSSIAN HORROR – 76. GREEK BORDER – 77. GANG OF ROUGH – 78. HOPE OF THE WORLD – 79. [GERMANY] NEAR BREAKING POINT – 80. ITALY AND GREECE – 81.  MUSSOLINI’S DEMANDS

The mausoleum of Sa'd ibn Abi Waqqas in Guangzhou (China) is presented as an important testimony to the history of the introduction of Islam in China, which legitimised its inscription as a cultural heritage site in 2013. However, this institutional recognition is not only due to a recent historiographical re-reading, but also to the presence of Muslim migrants. Indeed, while the local Muslim population visited the site very infrequently at the end of the 1990s, this was not the case for the migrant and foreign Muslim population, who have made a lasting contribution to the local religious life in Guangzhou and played a crucial role in the religious redefinition of the site. By focusing on one group in particular, the Pakistani migrants, associated with the Barelvi brotherhood, I will analyse their impact on the revival of Islam in general and Sufi Islam in particular. Indeed, as soon as they arrived in Guangzhou, they participated in (re)establishing the tomb of Sa'd ibn Abi Waqqas at the centre of their practices, developing Sufi networks, while adapting their practices to the local context. Biography Pascale Bugnon holds a PhD in Chinese Studies from the University of Geneva (Switzerland). After studying anthropology and sociology at the University of Neuchâtel, then Chinese and Russian studies at the University of Geneva, she specialised in the cultural heritage process of Muslim saints' tombs in China. Her first fieldwork on this topic was conducted in Xinjiang, where she analysed the political impact of cultural heritage on religious practice. For her dissertation, she shifted her geographical focus to southeastern China, conducting a multi-sited fieldwork in the cities of Guangzhou, Quanzhou and Yangzhou. Her work provides a multilayered account of the dialogic transformations of Muslim heritage sites and the political uses of Muslim sainthood in China, through a processual approach, both at the local level (local authorities, religious leaders, etc.) and at the international level (especially through the Maritime Silk Road Initiative).

Much of the current scholarship on the art of China in the 1910s and 1920s focuses on artworks, art academies, and art groups that were associated either with traditional Chinese painting (guohua 國畫) or with oil painting (youhua 油畫). By contrast, other mediums such as sculpture have rarely been discussed by scholars of modern Chinese art. Similar to guohua, the association of which with lofty literati values and imperial eras was hotly debated at the beginning of the Republic of China (1912–1949), the art of sculpture – a category that has long been considered as funerary art, craft, or decorative art – and its relevance to modern China was also discussed by artists and intellectuals at that time. In early twentieth-century China, sculpture eventually gained a new status within the fine arts. This article argues that one important factor that promoted the changing perception of sculpture in the public sphere was the blossoming print culture and its connections with photography and exhibitions in Republican China. Print materials such as newspapers, newspaper supplements, pictorial magazines, and exhibition catalogs/pamphlets promoted the process of modernizing sculpture.