Hsi Han huo-pi chʿu kao (A Monetary History of the Western Han Dynasty)

1975 ◽  
Vol 95 (3) ◽  
pp. 525
Author(s):  
Rose Chan Houston ◽  
Sung Shee-Wu
Keyword(s):  
Han Dynasty ◽  
Western Han Dynasty ◽  
History Of

A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts

2020 ◽  
Vol 6 ◽  
pp. 1-16
Author(s):  
Huang Yu [黄羽]
Keyword(s):  
Ethnic Group ◽  
Music History ◽  
Musical Instrument ◽  
Han Dynasty ◽  
Musical Instruments ◽  
The Other ◽  
Western Han Dynasty ◽  
Historical Materials ◽  
Depth Study ◽  
History Of

The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

scholarly journals Generation of a Historical Weapon Ge and Its Impacts on Huaxia Culture

2018 ◽  
Vol 10 (1) ◽  
pp. 57
Author(s):  
Zhuo Lu
Keyword(s):  
River System ◽  
Han Dynasty ◽  
Ancient China ◽  
Euphrates River ◽  
Western Han Dynasty ◽  
Chinese Nation ◽  
The World ◽  
Depth Study ◽  
History Of

The history of Huaxia (Chinese: , a historical concept representing the Chinese nation and civi-lization) is full of wars. Various weapons were developed that are suitable for ground combat with horse-drawn vehicles. The weapon Ge (Chinese: ) was already used before 221 BC (before the Qin Dynasty, ca. 221–206 BC), and disappeared in around 25 AD (at the end of Western Han Dynasty). In most other regions in the world, this type of weapon has hardly been used. The weapon axe was used in the ancient wars (in the same period) outside Ancient China (also called the Middle King-dom), such as in Mesopotamia (the area of the Tigris–Euphrates river system). However, the weapon axe is different from Ge, although there seem some similarities. This article provides an in-depth study and analysis of the reasons for the historic use of this unique weapon Ge, of its development in Ancient China, and of its influence on (military and civil) culture.

FROM THE HISTORY OF THE FORMATION OF THE IMPERIAL ACADEMY OF PAINTING IN CHINA

2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  
Keyword(s):  
Qing Dynasty ◽  
Shang Dynasty ◽  
The Qing Dynasty ◽  
Western Han Dynasty ◽  
Stage Of Development ◽  
Imperial Court ◽  
The Reformation ◽  
The Status ◽  
History Of ◽  
Imperial Academy

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.

scholarly journals Relationship between climate change and wars between nomadic and farming groups from the Western Han Dynasty to the Tang Dynasty period

2015 ◽  
Vol 11 (4) ◽  
pp. 3567-3595
Author(s):  
Y. Su ◽  
L. Liu ◽  
X. Q. Fang ◽  
Y. N. Ma
Keyword(s):  
Climate Change ◽  
Tang Dynasty ◽  
Animal Husbandry ◽  
Solid Material ◽  
Han Dynasty ◽  
The South ◽  
Central Plains ◽  
Western Han Dynasty ◽  
The Tang Dynasty ◽  
Background Climate

Abstract. In ancient China, the change in regional agriculture and animal husbandry productivity caused by climate change led to either wars or peaceful relations between nomadic and farming groups. From the Western Han Dynasty to the Tang Dynasty there were 367 wars between the two groups. The nomadic people initiated 69 % of the wars, but 62.4 % were won by the farmers. On a 30 year-period timescale, warm climates corresponded to a high incidence of wars. The conflicts between the nomadic and farming groups took place in some areas which are sensitive to climate change. During the cold periods, the battlefields were mostly in the southern regions. The main causes which leading to the above results are following: (1) warm climate provided a solid material foundation for nomadic and farming groups, especially contributed to improve the productivity of nomadic group; meanwhile, the excessive desire for essential means of subsistence in nomadic group could led to wars. (2) During the cold periods, people of farming group moved to the south and construct the south, meanwhile, nomadic group occupied the central plains, thus the battlefields also changed. As the background, climate change plays an indirect role in wars between groups.

Exotica, Fashion and Immortality: The New Use of Gold in Han Dynasty China (206 bce–ce 220)

2021 ◽  
pp. 1-16
Author(s):  
Shengyu Wang
Keyword(s):  
Chinese Culture ◽  
Composite System ◽  
Well Being ◽  
Han Dynasty ◽  
Eighth Century ◽  
Third Century ◽  
Chinese History ◽  
Eurasian Steppe ◽  
History Of ◽  
History Of Use

This article explores the use of gold in the elite tombs of Han dynasty China, the popular use of which originated outside the Chinese cultural milieu, and its integration into the Han portfolio of materials representing people's expectations for the afterlife, such as immortality and well-being. In contrast to jade, which had a long history of use in China, gold was in itself a ‘new’ element of Chinese culture. This article outlines the introduction of gold objects from Europe and Central Asia via the Eurasian Steppe and borderland of China from around the eighth century bce. The unprecedented use of gold in the Han-specific jade suits, and the process by which foreign types of zoomorphic motifs were adopted and connected with local motifs, are explored. In light of the political change from multiple competing states before the first unification in Chinese history in the third century bce, and the development in ideology and concept of an ideal and eternal afterlife, this article explains the reasons and meanings of the new use of gold in Han dynasty China and the composite system of motifs, materials and objects.

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