Revising the date of Jewish arrival in Kaifeng, China, from the Song Dynasty (960–1279) to the Hung-wu period (1368–98) of the Ming Dynasty

2017 ◽  
Vol 68 (2) ◽  
pp. 369-386
Author(s):  
Peng Yu
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
The Song Dynasty ◽  
The Ming Dynasty

Modes and textures of secondary minerals on Chinese coins of different ages

2003 ◽  
Vol 67 (1) ◽  
pp. 23-29 ◽  
Author(s):  
J. N. Fang ◽  
L. P. Tan ◽  
E. Huang
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Song Dynasty ◽  
Secondary Mineral ◽  
Secondary Minerals ◽  
The Qing Dynasty ◽  
The Song Dynasty ◽  
Different Ages ◽  
The Ming Dynasty

AbstractA thorough assessment of the secondary minerals on 796 Chinese Pb-Cu-Sn-Zn bronze coins from ∼1100 BC to AD 1911 has been made. Malachite is found on more than 80% of the coins irrespective of their dynasties, but a botryoidal texture is only observed on the coins of the Song dynasty or older. Azurite, however, is seen in microscopic quantities on a single coin of ∼AD 1800, but is clearly visible on the Ming dynasty or older coins. Cerussite is a common secondary mineral of the Qin dynasty and older coins, though it has not been found on the Qing dynasty or younger coins. Cuprite is observed on the Song dynasty and older coins.

Study on Typical Traditional Silk looms in Shanxi Province

2012 ◽  
Vol 479-481 ◽  
pp. 764-767 ◽  
Author(s):  
Wei Lu ◽  
Xiao Ming Yang
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Modern China ◽  
Shanxi Province ◽  
Technology And Society ◽  
Operation Mechanism ◽  
Textile Technology ◽  
The Ming Dynasty

Traditional silk looms are connected with traditional textile technology, which also represent the development degree of technology and society. This thesis discuss some kinds typical traditional silk looms of Shanxi province, in north of China, and draw a conclusion that standing loom originated in Song dynasty still existed in a few villages until modern China, but other two typical silk looms originated from the Ming dynasty and were used and widespread until 1980s in north of China. This thesis focuses on the key parts and functions of silk looms, explains the operation mechanism, and also compares the similar looms in different regions.

Chinese Budhi ST Brconzes in the Freer Gallery of Art: Physical Features and Elemental Composition

1992 ◽  
Vol 267 ◽  
Author(s):  
Paul J Eit ◽  
Janet G. Douglas
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Brass Alloy ◽  
Metallographic Examination ◽  
The Song Dynasty ◽  
Tin Bronze ◽  
Alloy Type ◽  
Metal Composition ◽  
Northern Wei ◽  
Physical Features

ABSTRACTTechnical studies were performed on one hundred and seven Chinese copper-alloy sculptures dating from the fifth to the nineteenth centuries A. D. in the collection of the Freer Gallery of Art. X-radiography, stereomicroscopy and metallography were used to determine various physical features; atomic absorption spectroscopy was used to characterize the metal composition. All sculptures were determined to be cast by the lost wax method, and details were tooled by engraving and chasing. Metallographic examination and microprobe analysis showed that the gilding technique used was mercury gilding. Bronzes from the Northern Wei to the Song dynasty are similar in their physical characteristics and alloy type, leaded tin bronze. Beginning in the Ming dynasty, an increase in the amount of zinc is found, both as an impurity in tin bronzes and as a brass alloy constituent.

scholarly journals 筆談：同文異音下的東亞文化交流

2020 ◽  
Vol 35 (35) ◽  
pp. 189-208
Author(s):  
藍日昌 藍日昌
Keyword(s):  
East Asia ◽  
Ming Dynasty ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Chinese Culture ◽  
East Asian ◽  
Main Stream ◽  
Six Dynasties ◽  
Tributary System ◽  
The Ming Dynasty

<p>近代所謂漢字文化圈者，意謂在東亞區域之內諸國受中國文化之影響，舉凡儒學、佛教及技術等，皆由中國而向外傳至日、韓、琉及越南等，東亞諸國的文化交流的媒介自然是以漢字為主。</p> <p>東亞交流雖自六朝開始，但當時並無官方語音的觀念，因此交流之時自以當時主流發音為主，而主流發音則隨政治、經濟形勢而變。六朝時以南方吳音為主流，唐時以河洛及西北方音為主流，南宋時則以蘇杭音為主流。</p> <p>書寫文字雖同，但音調則有差異，這對其他諸國而言，也是有所困擾，音調雖有變化，但書寫則不變，筆談即是東亞交流中溝通的媒介。</p> <p>明太祖所建立起朝貢制度，政治及經濟來往熱絡，朝鮮作為明朝與日本的紐帶，明、朝之間的燕行使與朝、日之間的通信使，交往之時大體透過筆談溝通。甚至越南與琉球、日本交往之時亦復透過筆談溝通。</p> <p>筆談之事，少見於唐宋，入明則筆談的記錄頻率轉增，然則筆談出現的頻率則證諸東亞交流的狀況及文化交流的盛景，其事雖簡，其義則甚重大。</p> <p>&nbsp;</p><p>The so-called Chinese cultural circle in modern times means that all countries in the East Asian region are influenced by Chinese culture, and all Confucianism, Buddhism, and technology have been spread from China to Japan, South Korea, Vietnam, and Vietnam, and other countries in East Asia. The medium of cultural exchange is naturally based on Chinese characters.</p> <p>Although the East Asia exchange started from the Six Dynasties, there was no concept of official speech at that time. Therefore, the main stream of pronunciation was mainly from the time when the exchange was made, and the mainstream pronunciation changed with the political and economic situation. At the time of the Six Dynasties, Wu Yin was the mainstream in the South. In the Tang Dynasty, Heluo and Northwestern were the mainstream. In the Southern Song Dynasty, the Su Hang sound was the mainstream.</p> <p>Although the written words are the same, but the tones are different, this is also a nuisance to other countries. Although the tone changes, the writing remains the same. The pen talk is the medium of communication in East Asian communication.</p> <p>Ming Taizu established the tributary system, political and economic exchanges, North Korea as the ties between the Ming Dynasty and Japan, the Yan Dynasty between the Ming Dynasty and the DPRK to exercise communication with the DPRK and Japan, when the exchanges are generally communicated through the pen. Even when Vietnam communicates with Ryukyu and Japan, it communicates through pen talks.</p> <p>The things in pen talk are rare in the Tang and Song dynasties. The frequency of writing records in Ming Ming&rsquo;s writings has increased. However, the frequency of conversations in writing has confirmed the status of exchanges in East Asia and the grand scene of cultural exchanges. Although the matter is simple, its significance is very significant.</p> <p>&nbsp;</p>

The Developing Process and Features of Chinese Classical Gardens in Ming Dynasty

2013 ◽  
Vol 838-841 ◽  
pp. 3035-3041
Author(s):  
Chen Xin Zhao ◽  
Wei Liu
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Song Dynasty ◽  
Left Behind ◽  
Central Spot ◽  
The Ming Dynasty

As a transiting period, the Ming Dynasty gardens showed a creation of its uniqueness. Private gardens in Ming Dynasty mainly focused on small courtyard, it had an unadorned style and they were extremely rich in symbols of leisure landscape; Ming royal gardens development was slightly left behind, but it lead itself to form a special style which was rough and heroic. Through analysis and comparison to the gardens from Ming, Song and Qing Dynasty, it is concluded that the Ming Dynasty gardens is an inheritance and development of Song Dynasty gardens intention, and its characteristics had a plentiful variation of space. To Sum up, the Ming dynasty gardens chose circuitous paths, enhancing the level of landscape and highlighting central spot of landscape as its routine.

An Investigation on Copper Red Glazes from Jingdezhen of the Ming and Qing Dynasties

1990 ◽  
Vol 185 ◽  
Author(s):  
Li Guozhen ◽  
Liu Zeyong ◽  
Guo Yengyi
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Yuan Dynasty ◽  
X Ray Diffraction ◽  
The Qing Dynasty ◽  
The Song Dynasty ◽  
Ming And Qing Dynasties ◽  
High Regard ◽  
Sophisticated Technology

AbstractCopper red glazes made at the pottery center of Jingdezhen during the Ming and Qing dynasties are one of the most famous and precious porcelain products of China. They were based on earlier technology developed in the Tong-guan kiln in Tang dynasty and on the Ru and Jun wares of the Song dynasty. The earliest copper red glazes appeared as early as the late Yuan dynasty. The dazzlingly beautiful altar red and ruby red products were created at Jingdezhen in the Yongle and Xuande periods of the Ming dynasty. Other copper reds created at Jingdezhen were the Longyao red of the Kangxi period and the imitation Jun, flambe amd others of Yongzhen and Qianlong periods of the Qing dynasty. Chinese copper red glazes have been held in high regard throughout the world, and many have wondered at their complex and sophisticated technology. Through analysis, we unlock some of the technical secrets of these famous wares in order that more people may appreciate the technical excellence underlying the visual appearances of these wares and that these glazes may be replicated better by contemporary ceramic factories in Jingdezhen.Seven examples of Jingdezhen copper red glazes were analyzed by scanning electron microscopy, x-ray diffraction, refiring tests and microprobe analysis to determine the compositions, microstructures and firing temperatures.

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