2,199 research outputs found
The nomenclature of the lycophyte species Phlegmariurus mingcheensis Ching (Huperziaceae)
No full textIn 1982, Ren Chang Ching twice described the same lycophyte species under the names Lycopodium mingcheense (published in April; the original "minchegense" spelling being a correctable error) and Phlegmariurus mingcheensis Ching (published in May). Phlegmariurus mingcheensis cannot be taken as a combination based on Lycopodium mingcheense because in the original publication a different holotype was indicated and the name Lycopodium mingcheense was not mentioned. The correct names for this species in Huperzia, Lycopodium, and Phlegmariurus are Huperzia mingcheensis (Ching) Holub (basionym: Phlegmariurus mingcheensis), Lycopodium mingcheense Ching, and Phlegmariurus mingcheensis Ching, respectively. The recent lectotypification of the name Lycopodium mingcheense using P.S. Chiu 2069 (PE) was redundant since this specimen was clearly indicated as the holotype in Ching's original publication. The recent new name Phlegmariurus mingjoui X.C. Zhang is an illegitimate superfluous name
The <i>I Ching</i> as a Potential Jungian Application: History and Practice
No full textAbstractSwiss psychiatrist Carl Jung had a lifelong interest in the I Ching after discovering it in 1919. Jung’s interest in the I Ching is arguably more practical than purely theoretical or intellectual, and references to I Ching divination appear frequently in his various publications, seminars, letters and clinical practice records. After a few observations on the history of the study of the I Ching in China, the author categorizes Jung’s three uses of the I Ching as physical use (to preview future potentials of outer reality), psychological use (to reveal one’s psychological state), and psychical approach (to engage with the divine through “神”[“shen”, spiritual agencies]). Finally, the author discusses the current Jungian engagement by demonstrating clinical cases in contemporary times. Some Jungian analysts practise I Ching divination to obtain insights into the physical and psychological state of therapeutic relationships and for personal development. This paper is a historical and critical engagement of the Jungian practice of I Ching divination.</jats:p
The Image of the Change: From the I Ching to the Evolution of Chaos
No full textThis article is dedicated to artistic explorations of change, with the I Ching (The Book of Changes) as a stepping stone. The author uses modern mathematics to identify the basic types of change in the I Ching codes and to build a bottom-up I Ching systemization with an associated aesthetic principle. Moreover, the author introduces other (chaotic) types of change to sparsely fill the gap between the basic I Ching orders and the ultimate Change, allowing artistic speculation reflecting the evolution of many types of change by means of digital simulations, 3D volumetric display, etc
[[alternative]]A STUDY ON ELEMENTARY EDUCATION IN CHING TAIWAN (1684-1895)
No full text[[abstract]]The main purposes of the study are:
1. To understand the origin of the institutions of the elementary education in Ching Taiwan.
2. To inquire the development and changes of the institutions of elementary education in Ching Taiwan.
3. To discuss the contributions of the elementary education to the transmission of Taiwanese culture and education.
Historical method was undertaken. First-hand and second-hand ones sources were used, such as official documents, private materials, and publications.
The main findings of this study are as follows:
1. Community schools (She-sheh), charity schools (I-sheh), and private schools were the three major patterns of the institutions of the elementary education in Ching Taiwan
2. She-sheh emerged from the Yuan dynasty, I-sheh from the Song dynasty, and private school from the Han dynasty. She-sheh and I-sheh were established and sponsored by the public, but private schools did not so.
3. In Ching Taiwan, the total numbers of She-sheh were about 273, I-sheh about 83, and private schools about 1127. She-sheh played the major role before Emperor Chang-Long, but private schools took its place after Emperor Chia-Ching. As to I-sheh had much less influence than the others.
4.Compared to the formal schools, county schools and academies, private schools played a significant role in the educational development in Ching Taiwan, which importance should not be ignored any more.
In conversation with... Francis D.K. Ching
No full text[EN] Interview with Francis DK Ching. Frank Ching is a renowned author of over a dozen books addressing architectural forms and their analysis through drawing.He is a widely recognized author of books addressing architectural and design graphicsHe has taught at several universities in the United States as well as in Japan and Hong Kong. He is currently holds the Professor Emeritus at the University of Washington.He has received awards from prestigious organizations such as the American Institute of Architects and the Cooper-Hewitt National Design Awards.More recently, in 2013, he received the gold medal of the UID, in Matera , where we had the pleasure of meeting Frank Ching in person and invited him to this interview, which has now been published.At Matera, surrounded by his students, the professor drew the Sassi, illustrating in front of our eyes, what he has been doing for decades: using Drawing as a cognitive and creative tool. His way to approach arquitectural drawing has been a benchmark for many generations of graphic arts teachers. Currently he is still regularly sharing new drawings on his personal web page from which we can continually learn and enjoy.[ES] Entrevista con Francis D. K. Ching. Frank Ching es un reconocido autor de más de una docena de libros relativos a la enseñanza de la arquitectura y su análisis a través del dibujo. Fue docente en diversas Universidades en Estados Unidos desde 1972, así como en Japón (1990) y Hong Kong (1993). Actualmente posee el título de Profesor Emérito en la Universidad de Washington.Fue galardonado con premios de prestigiosas entidades como el American Institute of Architects o los Cooper-Hewitt National Design Awards. Más recientemente, en el 2013, recibió la medalla de oro del UID, en Matera, donde tuvimos el placer de conocerlo personalmente e invitarlo a esta entrevista ahora publicada.En Matera, rodeado de sus estudiantes, el Profesor, dibujaba los sassi, concretando delante de nuestros ojos, lo que desde décadas lleva haciendo: la divulgación del dibujo como herramienta cognitiva y creativa. Sus conceptos para abordar el dibujo arquitectónico, han sido una referencia para distintas generaciones de docentes del dibujo de arquitectura y actualmente sigue compartiendo regularmente en su página web personal, nuevos dibujos que nosotros continuamos asimilando y disfrutandoBarros Costa, H.; Hidalgo Delgado, F. (2015). Conversando con... Frank D.K. Ching. EGA. Revista de Expresión Gráfica Arquitectónica. 20(25):20-31. https://doi.org/10.4995/ega.2015.3708SWORD2031202
Real Power: Lessons for Business from the Tao Te Ching
No full textNonfiction by James A. Autry and Stephen Mitchell Riverhead Books (Paperback, $14.00, ISBN: 157322720X, 3/1999) The Tao Te Ching is the world\u27s oldest leadership manual, written, according to legend, by the sage Lao-tzu in the sixth century B.C.E. In this book, premier business consultant James A. Autry and bestselling author and translator Stephen Mitchell present a modern-day guide to business leadership drawing on the age-old lessons of the Tao Te Ching. With simple, evocative essays, commenting on a selection from the Tao Te Ching, they show how its elegant wisdom can transform the workplace from a source of stress into a source of creativity and joy―and make work, at any level of the corporate ladder, more fulfilling than ever before.https://egrove.olemiss.edu/mwp_books/1272/thumbnail.jp
On the Rhyme 歌 in the Yün Ching (韻鏡)
No full textMany reexaminations of the phonemic system of the Ch’ieh Yün have been made after the presentation of Karlgren’s brilliant task. Concerning the rhyme 歌, however, it is almost established that the vowel was /ɑ/, opposing to the front vowel /ɑ/ of the rhyme 麻 etc., in Ancient Chinese. A single exception is C. W. Luh’s solution that assumes the vowel as /v/. (Luh Chih Wei: The Phonology of Ancient Chinese. Yenching Journal of Chinese Studies. Monograph Series No. 20, 1947) In this respect, the author cannot agree with him, especially from the view-point of the pattern of rhymes that is found in the relation to the upper character of fan ch’ieh (反切上字).Regarding the vowel of the rhyme 歌 as /a/ in Ancient Chinese, we have to solve the question why the rhymes 歌 and 麻 were arranged in the separate tables in Yün Ching, because, in Yün Ching, it is recognizable that both the rhymes containing /ɑ/ as a principle vowel and the rhymes containing /a/ are arranged in the same table. The author solves the question by the phonetic change of the vowel /a/ > /ɔ/ in open syllables that happened between the Ch’ieh Yün and Yün Ching, and this way of interpretation should not be restricted within this rhyme only. (cf. the author’s article “On the III and IV divisions of Yün Ching” in the Journal of the Linguistic Society of Japan, No. 21)Moreover, this solution seems to be suggestive to the meaning of 内外轉 denoted in the Yün Ching, for the rhymes 歌 and 麻 are denoted distinctively: the former as 内轉 and the latter as 外轉. But, the question of 外轉 for the group 臻 being not yet solved, a complete interpretation of 内外轉 demands further investigations.journal articl
Detachment and Emptiness of the Tao-Te-Ching and Master Eckart
No full textTitle: Letting go and detachment in the Tao Te Ching and in the works of Meister Eckhart Type: Diploma thesis Author: Alena Michutová Supervisor: doc. Pavel Hošek, ThD. Site: Neratov Year of solving: 2013 Pages: 120 This diploma thesis is divided into five chapters. The first one deals with goals and methods of the work and the fifth chapter is the conclusion. The theme itself is divided into three chapters: (2) theme of detachment in the Tao Te Ching, (3) theme of detachment by Meister Eckhart, (4) comparison of the detachment in the Tao Te Ching and in the works of Meister Eckhart. The first part is concerned with the character of Laozi, the book of Tao Te Ching and its position in the Taoist canon. Then the basic terms of the Tao Te Ching, Tao, wu-wei and sameness, are examined. Consequently, the necessary analyses, which is interspersed with numerous citations from the Tao Te Ching and also from the secondary literature, follows to approach the topic "detachment in the Tao Te Ching". In the end, I briefly outline, how the idea of detachment has been devepoled in Taoist praxis from the very beginning up to the present time. The similar method for the topic of detachment by Meister Eckhart has been chosen - at first I deal with the character of Meister Eckhart, then with his Latin and German..
Kuan-yin-ching Painting Owned by the Hondoji
No full textThe Kuan-yin-ching painting owned by the Hondoji Temple presently consists of two hanging scrolls, each measuring 124.6cm in height and 90.1 cm in width. The continuity of the composition indicates that they originally formed a single-scroll painting. The theme is based on the twenty-fifth chapter of the Lotus Sutra (Kuan-yin-ching) and represented by twenty ecclesiastic scenes. Cartouches are placed within the composition, where parts of the prose and verse in the chapter are written in ink.
As for the selection of the scenes, what is interesting about this painting is that all of the scenes in the verse that are concerning the salvation from various sufferings are depicted. From the prose, the thirty-three transformations of Avalokiteśvara and abundant benefits and liberation from greed conferred by Avalokiteśvara are picturized.
Rather conservative painting technique of the combination of underdrawing, colouring and finish with ink is employed. Texture strokes in ink are not used, even in detail. The colour scheme reflects a Chinese flavour, characterised by the floridity, which is different from the mode of colouring after the thirteenth century.
The painting had an inscription on the back, which was removed at the time of repairs. According to the inscription, the painting originally was kept as a treasure at certain Hōshakuji Temple, which is presumed to be the Hoshakuji located in
Ōyamazaki Town in the vicinity of Kyoto. It is interesting to note that the Avalikiteśvara figures in the painting are all eleven-headed Avalokiteśvara corresponding to the main statue of the Hōshakuji, made in the first year of the Tempuku Era (1233).
The earliest documented evidence of the belief of Kuan-yin-ching in the history of Japan took place in the first year of the Shuchō Era (686), when a lecture on it was held for the convalescence of the Emperor Temmu from his illness. The popularity of the belief has hitherto remained unabated.
Unlike the pictorial works depicting the twentyeight chapters of the Lotus Sutra, those limitted to the Kuan-yin-ching do not abound. So far the sole extant Japanese example has been the handscroll painting of Kuan-yin-ching in the Metropolitan Museum of Art, whose colophon bears the execution date of the first year of the Shōka Era (1257). While this handscroll painting of Kuan- yin-ching is a copy of a Chinese printed version, the hangingscroll painting in question is not based on any other compositions. This renders the painting extremely valuable in the comparative study with Chinese made illustrations of the twenty-fifth chapter of the Lotus Sutra.
As for the dating, the author assumes this Kuan-yin-ching painting to have been executed in the third quarter of the thirteenth century.journal articl
Design drawing / Francis D.K. Ching with Steve Juroszek.
No full textIncludes index.Book fair 2013.viii, 408 p. :Get the completely revised edition to mastering the visual language of architecture. In his distinctive graphic style, world-renowned author and architecture educator Francis D.K. Ching takes us on another exciting journey through the process of creation. In Design Drawing, Second Edition, he unmasks the basic cognitive processes that drive visual perception and expression, incorporating observation, memory, and rendering into a creative whole. This edition unites imaginative vision with fundamental architectural principles to cover the traditional basics of drawing, including line, shape, tone, and space. Guiding the reader step-by-step through the entire drawing process, Design Drawing also examines different types of drawing techniques such as multiview, paraline, and perspective drawings -- and how they can be applied to achieve stunning results. In addition, this edition: -Goes beyond basic drawing books'Ching not only covers the principles, media, and techniques of drawing, but also places these within the context of what and why designers draw.-Features more than 1,500 hand-rendered drawings'beautiful illustrations that reinforce the concepts and lessons of each chapter.-Includes a supplemental CD-ROM'viewers will gain a greater appreciation of the techniques presented in this book through the power of animation, video, and 3D models. Twelve new modules are included, as is a video of the author demonstrating freehand techniques in a step-by-step manner. For professional architects, designers, fine artists, illustrators, teachers and students alike, this all-in-one package is both an effective tool and an outstanding value, demonstrating concepts and techniques in a visually stimulating format that transends comparable works in the field
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