Pub Date : 2018-12-12DOI: 10.1163/15685322-10456P06
C. Ang
After the collapse of the Ming dynasty, a group of Ming loyalists settled in Hà Tiên (located on the Vietnamese side of the modern border between Cambodia and Vietnam) on the Mekong delta. On those frontier lands, they built a settlement around a port that maintained close connections with Guangdong and Fujian. This article examines an eighteenth-century literary project that took as its focus ten scenic sites in Hà Tiên. The poems were distributed via the coastal trading network to poets in Vietnam and the Chinese mainland, who composed matching poems and returned them with the next sailing season. These poetic compositions functioned as a medium through which the originator of the project rendered his domain civilized by giving pattern (wen 文) to Hà Tiên’s natural environment. Moreover, he encoded in them messages that urged dispersed Ming loyalists to make Hà Tiên their new capital. Close study of the ten original poems uncovers the motivations of a second-generation Ming loyalist, who composed landscape poetry to create a new home outside the Chinese mainland.
{"title":"Writing Landscapes into Civilization: Ming Loyalist Ambitions on the Mekong Delta","authors":"C. Ang","doi":"10.1163/15685322-10456P06","DOIUrl":"https://doi.org/10.1163/15685322-10456P06","url":null,"abstract":"After the collapse of the Ming dynasty, a group of Ming loyalists settled in Hà Tiên (located on the Vietnamese side of the modern border between Cambodia and Vietnam) on the Mekong delta. On those frontier lands, they built a settlement around a port that maintained close connections with Guangdong and Fujian. This article examines an eighteenth-century literary project that took as its focus ten scenic sites in Hà Tiên. The poems were distributed via the coastal trading network to poets in Vietnam and the Chinese mainland, who composed matching poems and returned them with the next sailing season. These poetic compositions functioned as a medium through which the originator of the project rendered his domain civilized by giving pattern (wen 文) to Hà Tiên’s natural environment. Moreover, he encoded in them messages that urged dispersed Ming loyalists to make Hà Tiên their new capital. Close study of the ten original poems uncovers the motivations of a second-generation Ming loyalist, who composed landscape poetry to create a new home outside the Chinese mainland.","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"294 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124224388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P04
Jue Chen
The image of Du Fu as a poet who excels at using the most appropriate words in his poetry was, to a large extent, constructed by the poets and critics of the Song dynasty. When reading, transcribing, editing, and commenting on Du Fu’s poetic texts, the Song literati prioritized textual variants in Du Fu’s poetry that could in their opinion better demonstrate Du Fu’s poetic craftsmanship; by doing so, they defined Du Fu as a verbal master who was able to use the finest words in poetic composition. The Song literati’s interest in word usage in Du Fu’s poetry was essentially a projection of their own desire to pursue expressional effect in poetic composition, which drove them to learn from Du Fu.
{"title":"The Tang Poet in Song Poetics, Song Poetics in the Tang Poet: The Construction of Du Fu’s Image as Verbal Master","authors":"Jue Chen","doi":"10.1163/15685322-10456P04","DOIUrl":"https://doi.org/10.1163/15685322-10456P04","url":null,"abstract":"The image of Du Fu as a poet who excels at using the most appropriate words in his poetry was, to a large extent, constructed by the poets and critics of the Song dynasty. When reading, transcribing, editing, and commenting on Du Fu’s poetic texts, the Song literati prioritized textual variants in Du Fu’s poetry that could in their opinion better demonstrate Du Fu’s poetic craftsmanship; by doing so, they defined Du Fu as a verbal master who was able to use the finest words in poetic composition. The Song literati’s interest in word usage in Du Fu’s poetry was essentially a projection of their own desire to pursue expressional effect in poetic composition, which drove them to learn from Du Fu.","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122222035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P03
Sebastian Eicher
The early depictions of the transition from the Han 漢 (25-220) to the Wei dynasty 魏 (220-265) are surprisingly diverse. Within a span of less than two hundred years, several historians arrived at different views on the event’s legitimacy and as a result described it in widely varying tones. This is still visible in the dynastic histories: while Chen Shou’s 陳壽 (233-297) Sanguo zhi 三國志 paints the picture of the establishment of a legitimate dynasty, Fan Ye 范曄 (398-446) in his Hou Han shu 後漢書 describes a ruthless overthrow of the Han court by Cao Cao 曹操 (155-220) and his son Cao Pi 曹丕 (187-226).
{"title":"Yuan Hong’s 袁宏 Evaluation of the Han-Wei Transition","authors":"Sebastian Eicher","doi":"10.1163/15685322-10456P03","DOIUrl":"https://doi.org/10.1163/15685322-10456P03","url":null,"abstract":"The early depictions of the transition from the Han 漢 (25-220) to the Wei dynasty 魏 (220-265) are surprisingly diverse. Within a span of less than two hundred years, several historians arrived at different views on the event’s legitimacy and as a result described it in widely varying tones. This is still visible in the dynastic histories: while Chen Shou’s 陳壽 (233-297) Sanguo zhi 三國志 paints the picture of the establishment of a legitimate dynasty, Fan Ye 范曄 (398-446) in his Hou Han shu 後漢書 describes a ruthless overthrow of the Han court by Cao Cao 曹操 (155-220) and his son Cao Pi 曹丕 (187-226).","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134276019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P09
A. Schottenhammer
{"title":"Ming Loyalists in Southeast Asia: As Perceived Through Various Asian and European Records, written by Claudine Salmon, 2014","authors":"A. Schottenhammer","doi":"10.1163/15685322-10456P09","DOIUrl":"https://doi.org/10.1163/15685322-10456P09","url":null,"abstract":"","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132403477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P07
M. Lewis
{"title":"Ideology of Power and Power of Ideology in Early China, edited by Yuri Pines, Paul Goldin, and Martin Kern, 2015","authors":"M. Lewis","doi":"10.1163/15685322-10456P07","DOIUrl":"https://doi.org/10.1163/15685322-10456P07","url":null,"abstract":"","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128685228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P10
Michael Marmé
{"title":"Brush, Seal and Abacus: Troubled Vitality in Late Ming China’s Economic Heartland, 1500-1644, witten by Jie Zhao, 2018","authors":"Michael Marmé","doi":"10.1163/15685322-10456P10","DOIUrl":"https://doi.org/10.1163/15685322-10456P10","url":null,"abstract":"","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132084591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P05
Mark Halperin
The Quanzhen Daoist order stands as the most dynamic religious element in north China of the tumultuous thirteenth century. Drawing on funeral epitaphs and abbey commemorations, this article illustrates how famous and obscure Confucian scholar-officials interpreted the order’s remarkable success in various ways. Some credited Quanzhen with pruning Daoism of its post-Han dynasty excrescences and reviving the heritage’s basic teachings. For others, Quanzhen marked simply the latest chapter in Daoism’s undimmed heroic history. A third group pointed to the order’s ascetic discipline, which as a matter of course attracted elite and mass devotion. Significantly, epitaphs and commemorations composed by Quanzhen writers sounded similar themes, suggesting that the learned laity and clergy shared a common discourse casting the order as a force for Han culture during foreign occupation.
{"title":"Explaining Perfection: Quanzhen and Thirteenth-century Chinese Literati","authors":"Mark Halperin","doi":"10.1163/15685322-10456P05","DOIUrl":"https://doi.org/10.1163/15685322-10456P05","url":null,"abstract":"The Quanzhen Daoist order stands as the most dynamic religious element in north China of the tumultuous thirteenth century. Drawing on funeral epitaphs and abbey commemorations, this article illustrates how famous and obscure Confucian scholar-officials interpreted the order’s remarkable success in various ways. Some credited Quanzhen with pruning Daoism of its post-Han dynasty excrescences and reviving the heritage’s basic teachings. For others, Quanzhen marked simply the latest chapter in Daoism’s undimmed heroic history. A third group pointed to the order’s ascetic discipline, which as a matter of course attracted elite and mass devotion. Significantly, epitaphs and commemorations composed by Quanzhen writers sounded similar themes, suggesting that the learned laity and clergy shared a common discourse casting the order as a force for Han culture during foreign occupation.","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115742775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-10DOI: 10.1163/15685322-10456P02
P. Goldin
This article uses evidence from digital databases to re-examine two controversial issues regarding the “Six Criteria” (liufa 六法) of painting listed by Xie He 謝赫 (d. after 532) in the preface to his Gu huapin lu 古畫品錄: (1) their syntax and phrasing, and (2) the origin and connotations of qiyun 氣韻, the most famous of the six. Despite recent claims to the contrary, the series of six numbered clauses taking the form “X, Y shi ye 是也” is unremarkable for the language of the time; moreover, the application of the Six Criteria in the subsequent biographies discloses that they are listed in decreasing order of importance. While the meaning and connotations of qiyun are impossible to state succinctly because they vary from one source to another, it is used (like similar phrases, such as yayun 雅韻 and shenyun 神韻) both to praise people’s character and as an aesthetic quality pertaining to music, literature, and art.
{"title":"Two Notes on Xie He’s 謝赫 “Six Criteria” (liufa 六法), Aided by Digital Databases","authors":"P. Goldin","doi":"10.1163/15685322-10456P02","DOIUrl":"https://doi.org/10.1163/15685322-10456P02","url":null,"abstract":"This article uses evidence from digital databases to re-examine two controversial issues regarding the “Six Criteria” (liufa 六法) of painting listed by Xie He 謝赫 (d. after 532) in the preface to his Gu huapin lu 古畫品錄: (1) their syntax and phrasing, and (2) the origin and connotations of qiyun 氣韻, the most famous of the six. Despite recent claims to the contrary, the series of six numbered clauses taking the form “X, Y shi ye 是也” is unremarkable for the language of the time; moreover, the application of the Six Criteria in the subsequent biographies discloses that they are listed in decreasing order of importance. While the meaning and connotations of qiyun are impossible to state succinctly because they vary from one source to another, it is used (like similar phrases, such as yayun 雅韻 and shenyun 神韻) both to praise people’s character and as an aesthetic quality pertaining to music, literature, and art.","PeriodicalId":378098,"journal":{"name":"T’oung Pao","volume":"158 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128844851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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