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Sherry Cheng and Wei Jiang oral history interview and transcript
No full textThis recording and transcript form part of a collection of oral history interviews conducted by the Chao Center for Asian Studies at Rice University. This collection includes audio recordings and transcripts of interviews with Asian Americans native to or living in Houston.Sherry Cheng holds a Master of Music degree in piano performance from the University of Maryland and a Bachelor of the same from the University of Oklahoma. She moved to Houston in 1999 with her husband, Houston Symphony violist Wei Jiang. Sherry is
involved in various capacities in Houston’s diverse arts community. As a musician, Sherry performs frequently in chamber music concerts, collaborating with musicians from the Houston Symphony and other freelance musicians. Sherry is the founder and director of the HCC Chamber Music Series, which brings innovative classical chamber music programming featuring some of Houston's finest professional musicians to the community at large. As an arts writer and music critic, Sherry is a contributing writer for Arts and Culture TX magazine as well as Classical Review online. She also serves on Houston Grand Opera’s Cultural Advisory Committee. As an early childhood music educator, Cheng has taught music in a preschool for 20 years and continues to be a fierce advocate for integrating the arts into the school curriculum.
Born in Wuhan, China, Wei Jiang began studying violin with his father at the age of 5, then studied viola after being admitted to the prestigious Central Conservatory of Music in Beijing. Immediately upon graduating with the highest honors, Wei became the youngest person to have been appointed to a teaching position at the Conservatory. During his five year tenure at the Central Conservatory, Wei toured extensively with his string quartet in Asia and Europe. He was also a founding member of the Eclipse Ensemble, a unique performing group that showcased music by contemporary Chinese composers. Wei came to the United States in 1996 to further his musical training at the Oberlin Conservatory and later at the University of Maryland. In 1999, he became a member of the Houston Symphony. He is a member of the Fidelis String Quartet, which made its Carnegie Hall debut in 2005 and is often featured in chamber music concerts throughout the city and state. He also frequently collaborates with his wife in performances of chamber music and new music, and the family of four also hosts small home concerts on social media during coronavirus quarantine. In his spare time, Wei enjoys playing tennis with his family, traveling, and the simple pleasures of life
Da cheng wu wei 大 乘 五 位.
No full textDa cheng ru dao ci di 大 乘 入 道 次 第Da cheng wu wei 大 乘 五 位Cheng wei shi lun 成 唯 識 論Numérisation effectuée à partir d'un document original.Tableau des cinq degrés, wu wei, selon le système wei shi 唯 識, numérotés dans l'ordre : zi liang wei 資 糧 位, jia xing wei 加 行 位, tong da wei 通 達 位, xiu xi wei 修 習 位 et jiu jing wei 究 竟 位. Chaque division est suivie, dans le registre inf. d'un gāthā introductif identique à celui du Cheng wei shi lun 成 唯 識 論, T . 1585, vol. 31, j. 9 et 10, pp. 48 b 22-23, 49 a 23-24, 49 c 16-17, 50 c 19-20, 57 a 11-12. Les subdivisions sont dans l'ensemble conformes au texte. Pour un tableau identique, cf. le Pelliot chinois 3746, intitulé Da cheng ru dao ci di 大 乘 入 道 次 第 (T . 1864, vol. 45), dont manque cependant la moitié inf. Pour un ms. comparable, cf. le Pelliot chinois 2156, intitulé San cheng ru dao wu wei 三 乘 入 道 五 位. Écr. kai, car. de taille variable. Encre foncée. Le texte est disposé sous forme de graphique, comportant des cartouches de forme et dimension variées, délimités par un filet double. Certains cartouches sont reliés entre eux par une ou plusieurs accolades à l'encre rouge. Dans la partie sup., de part et d'autre du titre, deux cercles à l'encre rouge. Le tableau est encadré d'un trait épais. Marges de 0,4 à 0,6 cm sur les 4 côtés
Zhongguo neng cheng wei shi jie gong chang ma?
No full textBen shu shou ru lun wen 41 pian, nei rong wei rao " zhong guo neng fou cheng wei shi jie gong chang " zhe ge zhu ti. bian zhe ren wei : mu qian zhong guo hai bu shi " shi jie gong chang " huo " shi jie zhi zao ye ji di " ; zhong guo zhi shi zai lao dong li mi ji xing chan ye yi ji lao dong mi ji xing yu ji shu mi ji xing xiang jie he de zu zhuang jia gong ye ling yu, ke yi shuo yi cheng wei shi jie de gong chan
Sherry Cheng and Wei Jiang oral history interview reflecting on Covid-19 pandemic
No full textThis recording and transcript form part of a collection of oral history interviews conducted by the Chao Center for Asian Studies at Rice University. This collection includes audio recordings and transcripts of interviews with Asian Americans native to or living in Houston.The special oral history collection is created in response to the COVID-19 pandemic. Sherry Cheng and Wei Jiang, who were previously interviewed by HAAA in April, was invited back to speak about their lives during the COVID-19 pandemic, and how as musicians they were impacted; and how they have contributed to the city by volunteering in aid of others— either through the Houston Food Bank, Asia Society, or the Houston Symphony Orchestra Committee, and others who are impacted by the pandemic
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A letter from Cheng Wei-yuan to Dr. Hector P. Garcia, inviting him to the 1984 Annual Convention of the Vocational Assistance Commission for Retired Servicemen of the Republic of China.
No full textA letter from Cheng Wei-yuan to Dr. Hector P. Garcia, inviting him to the 1984 Annual Convention of the Vocational Assistance Commission for Retired Servicemen of the Republic of China
[[alternative]]A Research on the calligraphies of Scripture-Writing of Dun-Huang of Ping-Cheng period in Bei-Wei Dynasty
No full text[[abstract]] 針對從書法判斷敦煌未紀年寫卷年代的問題，本文就北魏平城時期敦煌寫經書法之點畫、結體、章法分析、歸納後，對疑似北魏早期的寫卷進行考探，除驗證斷代的可行性外，更探討北魏平城時期敦煌寫經書法在書法史上的意義。 本論文共分七章：第一章說明研究動機與目的，界定研究範圍與方法，並對前人有關的研究作述評；第二章概述北魏平城時期主要楷書載體；第三至五章，就各寫經之點畫、結體和章法作傾向與共同傾向的分析和歸納；第六章在實際考探三卷敦煌寫卷後，探討了北魏平城時期敦煌寫經書法的意義；第七章為結論，除確認運用書法作為判斷未紀年敦煌寫卷的可行性外，並認為北魏平城時期敦煌寫經書法在書法史上所含「手寫墨跡具現點畫姿態」、「寫經書法管窺文化雜揉」、「經生字跡得見雅俗相通」的意義是值得重視的。[[abstract]] To those examination Handwrittens of Dun-Huang not writing down times , how should come to judge their question of times from the calligraphy, among stipple、structure、composition that this text pays attention to the calligraphies of Scripture-Writing of Dun-Huang of Ping-Cheng（平城） period in Bei-Wei （北魏）Dynasty at first, analyse and after summing up , it is investigated and explored to suspected to be the early Handwrittens in Bei-Wei Dynasty and then , besides verifying the feasibility of division of history into periods, probe into the callidraphies of Scripture-Writing of Dun-Huang of Ping-Cheng period in Bei-Wei Dynasty, the meaning in the history of calligraphy even more. This thesis divides into seven chapters altogether, chapter one states research motive and purpose, establish research range and method , and explain and criticize the researcher's relevant research of before; Chapter two outline the standard script of Ping-Cheng period in Bei-Wei Dynasty; From the third to five chapters, among stipple、structure、composition analysis that is inclined to and inclined to togethering and summing up on every Handwrittens; Chapter six, after taking an exam of three Dunhuang′s Handwrittens,and probe into the callidraphies of Scripture-Writing of Dun-Huang of Ping-Cheng period in Bei-Wei Dynasty′s meaning;Chapter seven a conclusion, besides confirming using calligraphies as the feasibility of judging the Handwrittens of Dun-Huang not writing down times , and think the calligraphies of Scripture-Writing of Dun-Huang of Ping-Cheng period in Bei-Wei Dynasty in the history of calligraphy , the「Shou Xie Mo Ji Ju Xian Dian Hua Zi Tai（手寫墨跡具現點畫姿態）」、「Xie Jing Shu Fa Guan Kui Wen Hua Za Rou（寫經書法管窺文化雜揉）」、「Jing Sheng Zi Ji De Jian Ya Su Xiang Tong（經生字跡得見雅俗相通）」meanings included are worth paying attention to
Xi jing za ji: liu juan.
No full text葛洪集 ; 程榮校.綫裝, 1函.框19.9x14.2公分, 9行20字, 白口, 單白魚尾, 版心上鐫題名, 中鐫卷次, 下鐫葉次.明刻"漢魏叢書"本?Xian zhuang, 1 han.Kuang 19.9 x 14.2 gong fen, 9 hang 20 zi, bai kou, dan bai yu wei, ban xin shang juan ti ming, zhong juan juan ci, xia juan ye ci.Ming ke "Han Wei cong shu" ben?Ge Hong ji ; Cheng Rong jiao
Wo ji wei
No full text[v.1-2]. 握機經 : 三卷 -- [v.3]. 握機緯. 吳子 : [二卷] / 劉寅約註 -- [v.4-8]. 孫子 : 十三卷 / 諸家約註.[v.1-2]. Wo ji jing : san juan -- [v.3]. Wo ji wei. Wuzi : [er juan] / Liu Yin yue zhu -- [v.4-8]. Sunzi : shi san juan / zhu jia yue zhu.[曹胤儒集註 ; 葉應元, 唐琳, 皇甫龍點校].綫裝, 1函.框20.5x14.3公分, 9行20字. 白口, 四周單邊, 無魚尾. 版心上鐫題名, 中鐫卷次, 下鐫葉次.《握機經》"姓氏"署"古風后著 ; 漢呂望, 宋阮逸增衍 ; 戰國吳孫武, 魏吳起緯 ; 明曹胤儒集註 ; 葉應元, 唐琳, 皇甫龍點校"前有王世貞序.《握機緯》包括: "吳子"二卷及"孫子"十三卷.《吳子》分上, 下卷.見《香港中文大學圖書館古籍善本書錄》(2001, p. 96)鈐有"温澍樑印", "棟臣氏觀", "漱綠樓藏書印", "百城樓藏書印"Xian zhuang, 1 han.Kuang 20.5 x 14.3 gong fen, 9 hang 20 zi. Bai kou, si zhou dan bian, wu yu wei. Ban xin shang juan ti ming, zhong juan juan ci, xia juan ye ci."Wo ji jing" "Xing shi" shu "Gufenghou zhu ; Han Lü Wang, Song Ruan Yi zeng yan ; Zhan guo Wu Sun Wu, Wei Wu Qi Wei ; Ming Cao Yinru ji zhu ; Ye Yingyuan, Tang Lin, Huang Fulong dian jiao"Qian you Wang Shizhen xu."Wo ji wei" bao kuo: "Wuzi" er juan ji "Sunzi" shi san juan."Wuzi" fen shang, xia juan.Jian "Xianggang Zhong wen da xue tu shu guan gu ji shan ben shu lu" (2001, p. 96)[Cao Yinru ji zhu ; Ye Yingyuan, Tang Lin, Huang Fulong dian jiao].Qian you "Wen shu liang yin", "Dong chen shi guan", "Shu lu lou cang shu yin", "Bai cheng lou zang shu yin
Mu tian zi zhuan: liu juan.
No full text郭璞註 ; 程榮校.綫裝, 1函.框20.1x14.2公分, 9行20字, 小字雙行同, 白口, 單白魚尾, 左右雙邊. 版心上鐫題名, 中鐫卷次, 下鐫葉次.明刻"漢魏叢書"本?卷末鐫"錢塘郭志學寫"Xian zhuang, 1 han.Kuang 20.1 x 14.2 gong fen, 9 hang 20 zi, xiao zi shuang hang tong, bai kou, dan bai yu wei, zuo you shuang bian. Ban xin shang juan ti ming, zhong juan juan ci, xia juan ye ci.Ming ke "Han Wei cong shu" ben?Juan mo juan "Qiantang Guo Zhixue xie"Guo Pu zhu ; Cheng Rong jiao
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