scholarly journals A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty

2021 ◽  
Vol 3 (2) ◽  
pp. 5
Author(s):  
Yang Song
Keyword(s):  
Song Dynasty ◽  
Yuan Dynasty ◽  
Chinese History ◽  
Artistic Style ◽  
The Status ◽  
External Causes ◽  
And Function ◽  
The Yuan Dynasty ◽  
First Time ◽  
Zhao Mengfu

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore,  studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji,  It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

scholarly journals Identification of kinship and occupant status in Mongolian noble burials of the Yuan Dynasty through a multidisciplinary approach

2015 ◽  
Vol 370 (1660) ◽  
pp. 20130378 ◽  
Author(s):  
Yinqiu Cui ◽  
Li Song ◽  
Dong Wei ◽  
Yuhong Pang ◽  
Ning Wang ◽  
...  
Keyword(s):  
Multidisciplinary Approach ◽  
Molecular Genetic ◽  
Yuan Dynasty ◽  
Minority Ethnic Group ◽  
Chinese History ◽  
Chromosomal Dna ◽  
Molecular Genetic Data ◽  
First Dynasty ◽  
Historical Sites ◽  
The Yuan Dynasty

The Yuan Dynasty (AD 1271–1368) was the first dynasty in Chinese history where a minority ethnic group (Mongols) ruled. Few cemeteries containing Mongolian nobles have been found owing to their tradition of keeping burial grounds secret and their lack of historical records. Archaeological excavations at the Shuzhuanglou site in the Hebei province of China led to the discovery of 13 skeletons in six separate tombs. The style of the artefacts and burials indicate the cemetery occupants were Mongol nobles. However, the origin, relationships and status of the chief occupant (M1m) are unclear. To shed light on the identity of the principal occupant and resolve the kin relationships between individuals, a multidisciplinary approach was adopted, combining archaeological information, stable isotope data and molecular genetic data. Analysis of autosomal, mitochondrial and Y-chromosomal DNA show that some of the occupants were related. The available evidence strongly suggests that the principal occupant may have been the Mongol noble Korguz. Our study demonstrates the power of a multidisciplinary approach in elucidating information about the inhabitants of ancient historical sites.

Yuan Dynasty

2013 ◽  
Author(s):  
David Robinson
Keyword(s):  
Political Philosophy ◽  
Political Institutions ◽  
Family Life ◽  
Social Life ◽  
Dominant Role ◽  
Northern China ◽  
Yuan Dynasty ◽  
Chinese History ◽  
13Th Century ◽  
The Yuan Dynasty

The Yuan dynasty sits awkwardly in Eurasian history. The dynastic name, Yuan, is Chinese, as is the practice of naming dynastic houses not by the leading family’s surname but by the place where the regime began or, as was the case with the Yuan, a term that carried auspicious meaning. In the case of East Asia, dynasty also calls to mind a package of political institutions and conventions (including a dominant role for the emperor; a highly articulated bureaucracy; written law codes regulating political, commercial, and family life; a court with extensive and minutely described rituals; a capital with a grand palace) and a well-developed political philosophy that explained the place of the Son of Heaven in the cosmos, and the interaction among the realms of man, nature, social life, and much more. Thus, one approach to the Yuan period has been to view it in the longer span of Chinese history. Yet, the rulers of the Yuan dynasty were Mongol conquerors whose family, the Chinggisids (descendants of Chinggis khan), subjugated much of Eurasia. Although Mongols had conquered much of northern China in the mid-13th century, the Yuan dynasty was not established until 1271. It is generally used to describe China under Mongol rule, but equating the Yuan dynasty with China is both factually inaccurate and highly misleading because Mongolian (or, more broadly, steppe) traditions of rulership and governance differed importantly from those of earlier and later Chinese dynasties. Much recent Japanese scholarship thus uses the term “Great Yuan ulus” (Mongolian for nation) rather than dynasty to highlight such differences.

scholarly journals Voices from Afar: Yuan Diplomacy between Ritual and Practice

2020 ◽  
Vol 17 (2) ◽  
pp. 271-285
Author(s):  
Francesca Fiaschetti
Keyword(s):  
Southeast Asia ◽  
Song Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
North Vietnam ◽  
The Yuan Dynasty

Abstract In their expansion is Southeast Asia, the medieval Mongols encountered many challenges, and among them there was the necessity to legitimize themself in the eyes of those polities which had long established relations with the Song dynasty. In building his authority the founder of the Yuan dynasty, Qubilai Qa’an, shaped his diplomacy capitalizing on the skills of his non-Mongol subjects. From Confucian scholars to state officials, envoys and generals, many individuals participated in the Yuan diplomatic machine, thus finding their own justification to belong to the Yuan imperial project. The present paper sketches the narratives and rhetoric used by some of these individuals in the case of the Mongols long and challenging interaction with the neighboring kingdom of Đại Việt, in North Vietnam.

scholarly journals True Identity

2018 ◽  
Vol 66 (2) ◽  
pp. 100-119
Author(s):  
Ching-Ling Wang
Keyword(s):  
Fourteenth Century ◽  
Twelfth Century ◽  
Song Dynasty ◽  
East Asian ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
Fundamental Research ◽  
Buddhist Painting ◽  
Image Production ◽  
The Yuan Dynasty

In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.

Semiosphere and Solitary World

2018 ◽  
Vol 14 (4) ◽  
pp. 455-479
Author(s):  
Lian Duan
Keyword(s):  
Yuan Dynasty ◽  
Chinese Art ◽  
Landscape Painting ◽  
Conceptual Level ◽  
Central Idea ◽  
14Th Century ◽  
Formal Level ◽  
Concentric Circles ◽  
The Yuan Dynasty ◽  
Zhao Mengfu

Abstract Literati landscape painting was the mainstream of Chinese art in the Yuan dynasty; its keynote is the idea of yi, literally, escaping for freedom, which is represented by the notion of reclusiveness at the conceptual level and the notion of spontaneity at the formal level. Based on an analytical interpretation of the development of Yuan literati landscape painting at the two levels, this essay intends to make a point that, under the Mongol rule, reclusiveness and spontaneity became the artistic pursuit of Chinese artists in the period from late 13th to late 14th century. Employing Yuri Lotman’s theory of “semiosphere” in this study, I argue that the blueprint for the solitary world is designed by the early Yuan literati artist Zhao Mengfu, and this world is constructed by the later Yuan literati artists Huang Gongwang and Ni Zan, among others. I further describe the structure of this world as having two levels and three concentric circles, with reclusiveness as the signified central idea and spontaneous brushwork as its signifier. I then conclude that the interaction of the reclusive idea and spontaneous style semioticizes the structure, and completes the construction of the unique artistic world of Yuan literati landscape painting.

Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China

2020 ◽  
pp. 31-38
Author(s):  
Eduard V. Kaziev
Keyword(s):  
Song Dynasty ◽  
Southern China ◽  
Historical Analysis ◽  
Yuan Dynasty ◽  
Inductive Method ◽  
Southern Chinese ◽  
Historical Episode ◽  
History Of ◽  
Chinese Official ◽  
The Yuan Dynasty

Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.

Analysis on the Cloud Shoulder Pattern of the Yuan Dynasty Fabrics

2013 ◽  
Vol 821-822 ◽  
pp. 823-828
Author(s):  
Ke Yan Liu
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
The Tang Dynasty ◽  
The Yuan Dynasty ◽  
Cloud Pattern ◽  
Usual Pattern ◽  
White Porcelain

The cloud shoulder pattern with four weeping clouds shape commonly used for decorating the parts from collar to shoulder for clothing and shoulder part for blue and white porcelain can be traced back to persimmon calyx pattern of the Han Dynasty. In the Tang Dynasty, the pattern of a four-petal leaf as first went for pattern details change and later advanced into cross flower, developing into the usual pattern decorated on fabrics. Till the Song dynasty, persimmon calyx pattern combined with Ruyi cloud (auspicious cloud) and was applied to architectures. However, the Yuan Dynasty’s shoulder cloud pattern with four weeping clouds shape used for decorating shoulders of clothing or porcelain was generated from combination of Ruyi cloud persimmon calyx pattern and “Bo” which was used to keep necks from wind and sand for Nomads in northern part of the country and developed into the cloud shoulder pattern focusing on decorating the shoulder of clothing and widely was used for nobles’ clothing. Gradually, the pattern was used for decorating crafts such as blue and white porcelain and gold and silver ware in the Yuan Dynasty. The cloud shoulder pattern spread from nobles to folks and was popular for decoration.

Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

2016 ◽  
Vol 8 (35) ◽  
pp. 6529-6536 ◽  
Author(s):  
Xiaoyuan Li ◽  
Xianjun Wu ◽  
Yang Zhao ◽  
Qiaoyan Wen ◽  
Zhongbu Xie ◽  
...  
Keyword(s):  
Analytical Methods ◽  
Song Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
Composition Structure ◽  
The Yuan Dynasty

Several archaeological lacquerware samples tracing back to the Song dynasty (A.D. 960–A.D. 1279) and an ancient lacquer box remnant dating from the Yuan dynasty (A.D. 1271–A.D. 1368) were analyzed by various analytical methods in this article.

Northern and Southern Dynasties and the Course of History Since Middle Antiquity

2014 ◽  
Vol 1 (1) ◽  
pp. 88-119
Author(s):  
Li Zhi’an
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Chinese History ◽  
Southern Song ◽  
The North ◽  
Before And After ◽  
The Tang Dynasty ◽  
The Yuan Dynasty ◽  
Southern Dynasties ◽  
Southern Institutions

Abstract Two periods in Chinese history can be characterized as constituting a North/South polarization: the period commonly known as the Northern and Southern Dynasties (420ad-589ad), and the Southern Song, Jin, and Yuan Dynasties (1115ad-1368ad). Both of these periods exhibited sharp contrasts between the North and South that can be seen in their respective political and economic institutions. The North/South parity in both of these periods had a great impact on the course of Chinese history. Both before and after the much studied Tang-Song transformation, Chinese history evolved as a conjoining of previously separate North/South institutions. Once the country achieved unification under the Sui Dynasty and early part of the Tang, the trend was to carry on the Northern institutions in the form of political and economic administration. Later in the Tang Dynasty the Northern institutions and practices gave way to the increasing implementation of the Southern institutions across the country. During the Song Dynasty, the Song court initially inherited this “Southernization” trend while the minority kingdoms of Liao, Xia, Jin, and Yuan primarily inherited the Northern practices. After coexisting for a time, the Yuan Dynasty and early Ming saw the eventual dominance of the Southern institutions, while in middle to late Ming the Northern practices reasserted themselves and became the norm. An analysis of these two periods of North/South disparity will demonstrate how these differences came about and how this constant divergence-convergence influenced Chinese history.

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