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Tang song yuan ming qing bai shi mi ji /
No full textAt head of title: Tang Song Yuan Ming Qing.Mode of access: Internet
The Literature of Gui You-guang : Revising the Concept of the Tang-Song School
Get PDFThe traditional prose writer (古文家) Gui You-guang (1506-1567) has long been seen as a member of the Middle Ming (明) dynasty literary movement known as the Tang-Song School. This paper argues that this view of Gui is incorrect. By examining Gui's own works, comparing these with the writings of other Tang-Song School figures, and tracing the history of the critical evaluation of Gui's work, a clearer understanding of the relation of Gui's work to the Tang-Song School is achieved. The most representative genre in Gui's corpus is memorial essays, often for relatives or for people of relatively low status. This was not a common type of writing in Gui's period. In examining these works I argue that Gui's motive in writing them was as much to express his own frustrations and anxieties, centered on his poor performance in the Confucian examinations (科擧), as to commemorate the actual subjects of the essays. This is in direct contrast with the writings of the main figures of the Tang-Song School, Tang Shun-zhi (唐順之) and Wang Shen-zhong (王愼中). These men did not write such works themselves, and indeed condemned the writing of epitaphs for people of no particular distinction. The expression of lofty, ennobling sentiments was central to their view of literary production, so naturally the style of their works is very different from that of Gui You-guang's. How, then, did Gui come to be linked to the Tang-Song School? While Tang Shun-zhi, Wang Shen-zhong, and later Mao Kun (茅坤) seem to have truly shared literary views, and associated with one another, Gui was not a part of their social circle. Instead, it seems that later critics, particulary writing in 19th century Japan, emphasized Gui's opposition to the Old Phraseology School (古文辭派), which was also criticized by Tang and Wang. Because of this Gui came to be placed in the same category with these other writers, and thus was assimilated to the Tang-Song School. A view of Gui You-guang which recognizes the distinctiveness of his writings and the contrast between his concerns and those of the actual Tang-Song School writers will restore Gui to his rightful place in Chinese literary history
Comment on “The relationship between Tang-Song poetry and zen buddhism thought”
Get PDFCommented article: TIAN, T. The relationship between Tang-Song poetry and Zen Buddhism thought. Trans/Form/Ação: Unesp journal of philosophy, Marília, v. 47, n. 4, “Eastern thought”, e0240064, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/14581
First description of the female Ozyptila kansuensis (Tang, Song & Zhu, 1995), comb. nov. (Araneae: Thomisidae)
No full textTang, Guo, Luo, Wei-Fen, Deng, Shu-Ye (2013): First description of the female Ozyptila kansuensis (Tang, Song & Zhu, 1995), comb. nov. (Araneae: Thomisidae). Zootaxa 3737 (1): 97-100, DOI: http://dx.doi.org/10.11646/zootaxa.3737.1.
The Development of Elegy in Tang-Song Period
No full text本文旨在探討唐宋哀祭文在體製及內容上發展過程。文中詳細分析唐宋著名作家的作品，逐一指出其承襲或創新之處。作者認為：若兼從「文學特質」與「文學流變」兩個角度加以觀察，韓愈是最有創造力的作家，歐陽修成雖不如韓愈，但在韓愈的籠罩下蛻變出新貌，二人的作品影響後世最鉅。此一觀點，和桐城派姚鼐《古文辭類纂》中推崇韓愈與王安石的看法並不完全一致。This paper is to discuss the development of styles and contents of elegy in Tang-Song period. In the article, the works of those famous writers in Tang-Song will be carefully analuzed, and their inherence and innovation will be pointed out one by one. The authoe thought that if we observe from the two perspectives:'Characteristics of Literature' and 'Developments of Literature', we can learn that Han Yu was the most innovative writer. The achievement of Ou-Yang Hsiu can't compare with Han Yu's, however, he still can bring forth new styles under the influences of Han Yu. The two writers' works had critical impacts upon the latter writers. The aboce-mentioned viewpoint is different from whar Yao Nai of the Tung-cheng school in his book, 《Ku-Wen-Tzi lai chuan》 had praised highly for Han Yu and Wang An-Shih
Fox in the Chinese Miscellaneous Notes of the Tang-Song Period (618-1279)
No full textFox has long been regarded as an extraordinary animal with supernatural power. For instance, in the figure bricks and stones of the Han Dynasty (202 BC–220 AD), the fox with nine tails has always been associated with Queen Mother of the West and immortality. Fox and its lexical terms, as recorded in the miscellaneous notes (biji) written by literati during the Tang-Song period (618-1279), have shown to have
varied images and meanings. On one hand, fox has appeared to be suspicious, seductive, bad and vile, and be able to befog people’s mind and make them fall ill. On the other hand, fox has positive images including its unswerving loyalty, lovingness to lover, repaying obligations, erudition, and eloquence. There have been different attitudes towards fox. One is to worship fox as a celestial being and offer
sacrifices, hoping that favours or benefits can be rewarded in return. But there are also records mentioning how people have averted, expelled and killed the fox due to their belief in not getting to be harmed by the goblin. The differences in lexical meanings, emotional meanings and cultural meanings of the word “fox” and its combinations can also be found in the miscellaneous notes accordingly.
This paper gives a focused study on fox as recorded in the miscellaneous notes of the Tang-Song period which forms the major part of the middle ages of ancient China. With quoted examples from representative notes and the use of supporting documentation such as literary works and dictionaries, the paper elaborates and analyses on the different images and meanings of fox from lexical and cultural
perspectives. Firstly the meaning, usage and development of the relevant lexical items are examined and discussed, and secondly a sociocultural review is made on people’s impressions of fox as a part of their folk belief during the Tang-Song period
Pi dian Tang Song ba jia chao : dì sān juǎn
No full text善成堂藏版 = Shan cheng tang cang banWork in 8 volumes. Double leaves, oriental style道光15 = Daoguang 1
Pi dian Tang Song ba jia chao : dì wǔ juǎn
No full text善成堂藏版 = Shan cheng tang cang banWork in 8 volumes. Double leaves, oriental style道光15 = Daoguang 1
Spatiotemporal distribution characteristics of Nanjing place names-Based on data mining of Tang-Song poetry and online travelogues.
No full textTang-Song poetry, a distinguished element of China's traditional cultural heritage, is intricately linked with the historical and cultural development of Chinese cities. This paper uses Nanjing as a case study and applies digital humanities techniques to analyze and compare the spatiotemporal distribution of place names found in Tang-Song poetry with those in online travel narratives. The aim is to uncover key factors that have influenced the cultural continuity of these historical cities and their relevance today. Findings indicate that: (1) Locations mentioned in Tang and Song poetry show significant spatial differentiation, with urban areas displaying a clustered distribution and suburbs showing scattered hotspots. (2) The number of locations referenced in Song poetry increased significantly compared to Tang poetry, suggesting that Nanjing's economic growth heightened the city's appeal and inspired more literary output. (3) Song Dynasty poetry reflects a shift toward more neutral and negative emotions, with a marked decrease in positive expressions. This rise in negative sentiment can be traced to the decline in national strength from the Tang to the Song Dynasty, amplifying Nanjing's role as a place of reflection and mourning. (4) Nanjing's cultural hotspots, such as Xuanwu Lake and the Zhongshan Scenic Area, feature prominently in both Tang-Song poetry and modern travelogues. This study contributes to research in literary geography and literary tourism at the urban spatial level, offering fresh insights into the cultural legacy of historical cities
Pi dian Tang Song ba jia chao : dì èr juǎn
No full text善成堂藏版 = Shan cheng tang cang banWork in 8 volumes. Double leaves, oriental style道光15 = Daoguang 1
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