晏幾道《小山詞》接受史

In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.

The use of poetry in diplomacy between East Asian countries (at least between Korea, Japan, Okinawa, and Vietnam) during the Ming and Qing dynasties has been well documented by past scholars. However, some issues have yet to be clarified: (1) Can diplomatic poetry he said to have any special characteristics in terms of aesthetic form, mood, and content? (2) Is there any degree of interaction between diplomatic poetry and contemporary views on poetics? (3) Since diplomatic poetry concerns experience with foreign countries, does it to any degree reflect perspectives of foreign exoticism and the mutual observation of self/other? (4) Since diplomatic poetry is a byproduct of communication between political systems, it should, to a certain extent, reflect characteristics such as forms of government, political values, and worldview, and this is where diplomatic poetry differs from other types of work. Focusing on the late-Ming envoy Zhu Zhifan朱之蕃, and also other envoys such as Zhang Ning張寧 and Qi Shun祁順, this paper outlines the possible implications of the writings of modern East Asian envoy culture, in order to investigate the interaction and spread of Ming-Qing poetics between the countries of East Asia. At the same time, on this basis, we reflect on the possibility of rewriting literary history.

This study aims to examine the manner in which Yi Gyu-gyeong(李圭景, 1788-1856) assimilated and systematized Chinese graphological knowledge by analyzing the materials related to Chinese graphology contained in Oju Yeonmun Jangjeon Sango(五洲衍文長箋散稿) and investigating the patterns of cited works therein. To this end, the main body of this study first explores the content and structural composition of Oju Yeonmun Jangjeon Sango to clarify the author's intent in its compilation. Subsequently, it scrutinizes the specific content and methodological approach employed in the presentation of materials related to Chinese graphology, thereby evaluating the process through which such knowledge was compiled. Finally, it delineates the distinctive characteristics of the works cited within the realm of Chinese graphology. These findings may be summarized as follows: First, while Yi Gyu-gyeong primarily referenced graphological texts from the Qing dynasty, he also extensively cited works from the Song and Ming dynasties. Notably, the most frequently referenced texts include Yang Shen(楊愼)’s Danyan Zonglu(丹鉛總錄) and Sheng’an Ji(升菴集) from the Ming dynasty, as well as Gu Yanwu(顧炎武)’s Rizhilu(日知錄), spanning the Ming and Qing dynasties. Second, Yi Gyu-gyeong incorporated numerous Korean sources into his work, the most frequently cited among them being Cheongjanggwan Jeonseo(靑莊館全書), a compendium encompassing a wide array of scholarly knowledge and materials, authored by his grandfather, Yi Deok-mu(李德懋). Third, beyond these principal sources, he drew upon a diverse range of texts of varying scope and content, thereby engaging in extensive discourse on multiple facets of Chinese graphology. Fourth, his engagement with Chinese graphology also extended to the inclusion of Japanese texts, such as Wakan Sansai Zue(和漢三才圖會) and Nenroku(蔫錄), as well as records of Korean diplomatic missions to Japan, including Haedong Jegukgi(海東諸國記) and Haeyurok(海遊錄). These citations suggest a keen interest in Japan and indicate a broadly receptive stance toward Japanese scholarship.

This paper collected and analyzed literatures about starting of traditional medicine and trading of different medicine from Chunqiu Zhanguo to Ming and Qing Dynasties, in order to preliminarily explore on an overview of specie of chinese exotic traditional medicine and trade of different country in different dynasty（from Chunqiu to Ming and Qing Dynasties）, as well as the amount of exotic medicine over two thousand years. (remove repeating and doubtful species), find peculiarity of exotic medicine, sreen species that used to develop the Silk Route and establish quality standards.Finally, We get conclusions are as follows. First, primary,.prosperous and declining stages of development of exotic traditional medicine are Qin and Han, Song-Jin-Yuan, Ming and Qing Dynasties, respectively. Second, according to literature, the stage that has the most species of exotic medicine is song dynasty,approximately have 300. Removing repeating and doubtful species, the believable species are approximate 230 to 250. Meanwhile, the unknown species are approximate 30, which may be different name of one medicine or processed goods, now these medicines are named as "doubtful species". Third, the medicinal parts of exotic medicine are different from Chinese medicine of Han nation. The number of Resin, fruits and seeds kind are more than root and rhizomes kind,mineral medicines are more than animal. Fourth, the major producing area of exotic medicine is some countries and territories related to the Silk Route in the history. Ultimately, this paper preliminarily figure out basic information of exotic medicine of different dynasty in China,that provide reference for learning study and decision of industrial development.

Buddhist monasteries have played important roles in the development of both the culture of and urban planning in ancient Chinese cities. In this paper, the Buddhist monasteries in the city of Xi’an, Shaanxi Province, during the Song (宋), Yuan (元), Ming (明), and Qing (清) dynasties are collated from historical documents. The characteristics of the spatial distribution of Buddhist monasteries are analyzed by using kernel density estimation (KDE), and the evolution of that spatial distribution is explored by documentary analysis. The results show that Buddhist monasteries are closely surrounded by cultural buildings and warehouses, discretely surrounded by administrative buildings. The spatial distribution evolution of Buddhist monasteries has evolved evenly during the expansion of the Xi’an city area, through the Song, Yuan, Ming, and Qing dynasties. This study provides a reference for the preservation of Buddhist monastery spaces in the historical context of Xi’an city area.

In the late Ming Dynasty, a family of the Po, who was a Mongolian military officer, emerged in Xuanfu. At first, they served as “Yi Ding(Tatar Soliders)” in Jiubian(nine-frontier fortification system of the Ming Dynasty). Unlike the Mongolians who joined the Wei Suo system in the early Ming Dynasty, the Po family served as private armed servants of Ming Dynasty border defense generals. They not only serve as frontline soldiers for border defense generals, but also serve as Mongolian language translators for them. In short, they have a lot of effectiveness.At the same time, they were incorporated into the military status of the garrison in Xuanfu, and became officials in the camp step by step from the positions of garrison and guerrilla.Its members took part in a series of eastern expeditions and western wars in the late Ming Empire, such as the Imjin War, and participated in the battles of Jigsan and Ulsan to expel the Japanese army, while the father and son of Pou Tingxiang participated in the war between the Ming Dynasty and the Later Jin Dynasty and sacrificed their lives on the battlefield. After the change of Dynasties in the Ming and Qing Dynasties, the members of the Po family chose to become officials in the Qing Dynasty for the sake of family interests, and tried to let the next generation continue to engage in the army and maintain their glory. However, due to the collapse of the former Ming Dynasty’s military officer system, the Qing Dynasty’s vigilance against the former Ming Dynasty’s generals, and the characteristics of the Qing Dynasty’s military system and military officer system itself, the Po family did not get the same position of power as the former Ming.In the end, like other generals on the Jiubian(nine-frontier), the former Ming generals, who were born as adherents, gradually withered away in the Qing Dynasty.

Floods had a massive impact on the development of ancient cities around the world and understanding this phenomenon constitutes an essential part of the history of long‐term and dynamic human–environment interactions. There remains, however, an enormous challenge in identifying records of ancient floods in urban environments due to various sedimentation and postdepositional processes that often remove, erase, and alter such environmental records. During archaeological excavations in the famous historic city of Kaifeng, we identified records of two historical floods at the Shuntianmen site. Related stratums were carefully studied, from which dating and sediment samples were collected. These excavated stratums were also scanned to obtain digital data for modeling. Combining these data, we then applied three‐dimensional modeling to reconstruct the evolution of the natural and cultural landscape of the site since the Northern Song Dynasty (960–1127 AD), which was not possible in previous studies due to the deep burial of archaeological strata. Our results indicate that the two floods occurred during the late Ming Dynasty (1368–1644 AD) and the Qing Dynasty (1636–1912 AD), respectively. During the Northern Song Dynasty, Shuntianmen was an important part of Kaifeng, which was, at that time, the capital of China and one of the largest cities in the world. Later, during the Yuan and Ming dynasties, Shuntianmen became a suburban settlement situated along various traffic routes. During the Qing Dynasty, the area became a small village. Subsequently, the area was completely abandoned and deserted until modern Kaifeng, which was built at the same place. The evolution of the regional landscape is the direct result of the interaction between the natural environment and human activities, among which the precarious alluvial processes of the Yellow River were playing an increasingly vital role. Over the centuries, the Yellow River floods, warfare, and wind‐blown sand accumulation reduced the Kaifeng region from a prosperous capital to a comparatively deserted area.

'Wine' was one of the most important symbols and subjects existed witin the tradition of Chinese poetry; and the correlation of 'wine' and 'red' truly had their own literary symbols. The correlation of those two words were started to emerge among the poems during the end of the Sui Dynasty. After that, a lot of poets in the Tang Dynasty also followed the expression of 'wine red' into their poems. There were three symbols beneath this expression. Firstly, conveying the sorrow of unfulfillment at the end of life year. Next, protraiting the beauties when they were drunk. Finally, displaying the feasts and parties. However, in the Song Dynasty, there were no other breakthrough toward the use of 'wind red' until the appearance of Su Shi. He broadened the interpretation of 'wine red', which had indicated as the elderly, whom had a young face. In terms of ”Innovative Thinking”, the author discussed how Su Shi innovated the new concepts and expressions, which were based on the previous prototype. According to the references the author had found, the main poetic features could be divided into half. Firstly, Su Shi were used to contradict the forms and meanings of the poems to develop the new symbol. Secondly, he was not only to follow the traditional symbol of 'wine red', but also think outside the framework. As the typical example of the method of ”Changing the Bones and Altering the Fetus”, this method initially appeared in Leng zhai Poetry Talks (Monk Hui Hong,); and the following poetic productions in the Song Dynasty were all cited or succeeded this mehtod. Hong Mai (Rong Zhai Essay), however, came up with his opinion on Su Shi's poetic features. He stated that Su Shi could be based on the traditional poetic symbols and innovated into the novel interpretations of 'wine red', which had never been achieved by the rest of poets. Therefore, in the light of prototype shift of 'wind red' symbols, the auther would explicate how Su Shi could base on the mainstream poetic state, which advocated as ”Meticulous Concept and Expression” in the Song D ynasty, to establish his own poetic state of ”Innovative Concept and Expression”.

The relationship between Chenghuang Temple and affiliated Garden is a representative urban historical public space in Shanghai, which is more typical in Qingpu. A large number of Chenghuang Temple and affiliated gardens were built in Qingpu during the Ming and Qing dynasties, of which two Chenghuang Temple and affiliated gardens in Qingpu County and Zhujiajiao Town are the most famous. The construction process of temples and gardens in both regions has gone through twists and turns, and there are many similarities: from the beginning of construction in the late Ming and early Qing dynasties, to the destruction caused by war during the Xiantong period, as well as the reconstruction during the Guangxu period, and the new development in contemporary times. With the social change and the development of the times, the space and landscape of the Chenghuang Temple and affiliated garden in the two places have changed one after another, the relationship between affiliated garden has also changed, and the interactive relationship with the urban space has also been reconstructed. This paper focuses on the development of temples and gardens in Qingpu County and Zhujiajiao Town after the Ming Dynasty, and conducts a comparative study of the two from the aspects of historical changes, temple patterns, garden layout and the relationship between temples and gardens. By analyzing the diachronic changes of the landscape space and social functions of temples and gardens, it reveals the transformation of the relationship between temples and gardens with social change, and the construction process of the interactive relationship between urban historical public space and cities such as Chenghuang Temple and affiliated Garden.

In ancient China, ”Jingyan” was the special lecture for Chinese emperors to read classics. The aim was to train the emperor to better govern the country and people, and to make the emperor reach an ideal status of ”virtue perfect and instructions honoured, instructions honoured and the officers behaved, the officers behaved and order maintained in the state.” The term, Jingyan, originated from the Song Dynasty, inherited from previous generations of Hanlin academican system. In the period of Song Lizong Junsuke, Xu, Lu Qing was called on by the emperor twice to explain about the main point and the meaning of Shagshu, and also provide ways to manage the state and the people. Following the Jingyan lecture on Shangshu, we can clearly know the point of the book, as well as understand the profound significance of Shangshu in imperial education.

Throughout the Song, Yuan, Ming, and Qing dynasties, the relative longevity of each dynasty, coupled with the change of dynasties, basically did not fall into a long period of turmoil, which ensured that Confucian indoctrination thought entered a period of successive development and gradual improvement. During this period, the Confucian ideology of indoctrination eventually developed into a complete system of thought and practice that was compatible with the political and social development of the country and had a significant impact on the moral development and cultivation of human beings. This article focuses on Confucian indoctrination during this period, aiming to sort out the theoretical and practical development of Confucian indoctrination during this period, to help gain a more comprehensive insight into the evolutionary trajectory of Chinese outstanding traditional culture.

There were systems of Mang robes both in Ming and Qing dynasties. However, they differ greatly in style although they have got the same name. A Mang robe in Ming Dynasty has big and wide body and sleeves, the same style as that of Han nationality. But the Mang robes of the Qing Dynasty bear the features of typical nomadic style with turtle neck, buttons on the right side, and horse-hoof sleeves. Although the Qing Mang robe system is from the Ming dynasty, only those external ornaments that can be accepted by the rulers remain. Rulers of Qing Dynasty believed that ornaments were only used to decorate the garments and there was no need to rigidly adhere to the external form.

During the Tang and Song dynasties, the understanding of Xing deepened in a new direction, which, drawing on the current cultural developments, took on a new appearance by simultaneously serving political purposes and aesthetic appreciation. During the Yuan, Ming and Qing dynasties, a variety of schools of thought rose and developed in the study of Xing and made a few influential contributions. Among those, the ideas of “style,” “temperament” and “romantic appeal” are typical, enriching and broadening its definition based on independent systems of understanding of Bi and Xing, a key Chinese traditional interpretation of the object–response relationship.

본 연구는 중국 한전불교 사찰을 대상으로 후한 때부터 청대까지의 역사적 가람배치와 사원 내외의 환경을 구명한 것으로 인도·서역에서 비롯된 종교형식이 중국 고유의 형제로 한화(漢化)되는 과정에 주안점을 두고 고찰되었다. 중국 불사의 최초 공간형식인 부도사(浮圖祠)는 중루와 사면 회랑으로 이루어진 단순한 형식으로 이루어져, 중국 고대 예제건축인 ‘명당·벽옹식’의 배치평면과 유사했을 것으로 보고 있다. 남북조시대에서 수당대에 접어들면 탑과 불전의 그 위상이 역전되어, 불전이 사원의 중심건물로 배치되고 탑이 점차 불전 마당의 양 측면이나 주변부로 밀려나 부속시설로 취급된 점이 확인된다. 이 시기는 황제의 복식을 따른 불상이 제조되고 궁궐의 조영법식을 준용한 사원이 나타나는 등 한전불사의 기본적인 형식이 구축된 것으로 평가된다. 송대에는 선종사원을 중심으로 형성된 가람칠당식 배치에서 완전히 한화된 형질을 읽을 수 있다. 원명대 사묘에서는 율종 형식의 계당(戒堂)이나 정토종 개념의 불당들의 출현이 특기된다. 청대에 이르러 불사는 이전의 법식과 고풍이 사라진 화려한 원림식사묘로 개조되어 볼거리와 흥미를 구비한 민간 원림 요소들로 채워졌다. 이는 대중문화와 민간신앙적 요소가 한데 섞여 강한 통속적인 색채를 갖는 청대 불교의 특징으로 지적된다.This study investigates the historical site layout of the Buddhist temple and its inside/outside environment from the Later Han to the Qing Dynasty, focusing on the process of Hanization of the religious style derived from India and the West. Budosa, the first spatial style of Chinese Buddhist temple, is thought to be similar to the layout of “Mingtang-Piyong,” with its simple style consisting of a zhonglou pavilion and four-sided corridor. Entering from the North and South Dynasties into Sui and Tang Dynasties, the status pagoda and sanctum was reversed, and it was confirmed that the sanctum was placed as the main building of temple and the pagoda was gradually pushed to both sides or the periphery of temple and treated as an accessory structure. This period is said to have established the basic style of the Han Buddhist temple, with the appearance of temples that conformed to the palace’s construction method and Buddha statues following Emperor’s design. In Song Dynasty, one can read the characteristics of the full Hanization from Shichidou Garan formed around temples of the Zen sect. For the temples from Yuan and Ming Dynasties, the emergence of Risshu style halls and Pure Land sect style temples is noted. By the time of the Qing Dynasty, the temples were transformed into colorful garden temples where the old rituals and archaism disappeared, filled with elements of private gardens with attractions and interests. Meanwhile, Buddhism in Qing Dynasty is characterized by strong popular colors with a mix of popular culture and folk beliefs.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 明清易代之際，結社逃禪之風日漸濃厚，結社行爲在晚明的去政治化、去功利化特徵，是心學、佛學衝擊傳統儒家思想的結果。復社是明代科舉制度影響下的文社，但一些復社成員卻同時結有禪社，可見儒學和佛學兩股風潮在當時並非完全對立或此消彼長的關係，而是借助文學活動展開各自的影響路徑。陸世儀、陳瑚等人在崇禎初年拒不入復社，代表了當時不同的聲音。儘管復社參與政治鬥争，由明入清的文人學者仍肯定了復社對文章創作的積極作用，試圖重申儒家思想以推動清初社事回歸訂文字交的正常軌道。基於盟社觀、文學觀，清代文人也對社事與國家興亡之關係發表看法。復社的衰落、明朝的滅亡都引起了詩人們對生命價值和歷史政治的再思考，也涉及朋友相交的基礎、結社訂盟的形式、文章創作的宗旨等問題。乾隆以後文人的盟社觀，受到清朝嚴控文網的影響。 In the transition of the Ming and Qing dynasties, there was a thriving trend for poets to join societies and worship Buddhism. The depoliticization and getting rid of utilitarianism of the societies in late Ming times were the result of the impact of the philosophy of Wang Yangming (1472 1529) and Buddhism on traditional Confucianism. The Fu Society was formed under the influence of the imperial examination system in the Ming Dynasty for creative writing, but some members of the Fu Society also joined Buddhist Societies. It can be seen that Confucianism and Buddhism were not completely opposed in the late Ming, but exerted their influence with the help of literary activities. Lu Shiyi (1611 1672), Chen Hu (1613 1675), and others refused to join the Fu Society during the early Chongzhen era (1627 1644), representing the different voices at that time. Although the Fu Society participated in political struggles, writers and scholars from the Ming Dynasty still recognized its positive role in literary creation, and its efforts to reiterate the importance of Confucianism to promote the society by leading it back to concentrate on writing in the early Qing Dynasty. Based on the society’s view of literature, the Qing-dynasty literati also talked about the relationship between society and the rise and fall of the empire. The decline of the Fu Society and the collapse of the Ming Dynasty caused poets to rethink the value of life, history, and politics. It also involved the basis of friendship, the form of association, and the purpose of writing. After the Qianlong era (1736 1796), the writers’ view of alliance and community was influenced by the Qing Dynasty’s strict control of literary networks.