19,451 research outputs found
Yue du guan cang dang an yu jiu ji
No full textGuo shi guan tai wan wen xian guan dian cang tai wan shi xiang guan dang an shu liang pang da . guan cang feng fu , wei yan jiu tai wan shi bu ke huo que zhi zhong yao fu zuo zi liao";" wei ji ji tui guang tai wan li shi wen hua , you duo wei yan jiu zhe yi guan cang shi liao yu jiu ji zuo wei su cai , zhi bi xie chu xin de , pan neng pao zhuan yin yu , jie you wen zhong shen ru qian chu zhi jie shao , xi yin geng duo du zhe jin ru tai wan shi zhi yan jiu ling y
ANALISA PERUBAHAN STATUS GUAN YU BESERTA PENELITIAN KEPERCAYAAN WARGA KETURUNAN TIONGHOA TERHADAP GUAN GONG DI KLENTENG SATYA DHARMA
No full textANALISA PERUBAHAN STATUS GUAN YU BESERTA PENELITIAN KEPERCAYAAN WARGA KETURUNAN TIONGHOA TERHADAP GUAN GONG DI KLENTENG SATYA DHARMA - Guan Yu , Guan Gong , Kepercayaan , Klenteng Warga keturunan Tionghoa , Dew
ANALISA KESETIAAN GUAN YU DALAM KISAH TIGA KERAJAAN
No full textANALISA KESETIAAN GUAN YU DALAM KISAH TIGA KERAJAAN
Confucian Scholars and the Worship of GUAN Yu
No full text关羽崇拜是民间信仰中较为突出的信仰形态之一。关羽作为一代武将而被崇奉为神明,似乎与追求金榜题名、实践儒家伦理道德的儒生并无关联。事实上,儒生与关羽崇拜却有着千丝万缕的联系。一方面,儒生推动的儒化关羽的过程,使关羽不仅为儒生所接受而且为其由区域神转向全民信仰大神奠定基础;另一方面,关羽神在为儒生接受之后,他又不得不违背儒生为其定位的道德标准。The worship of GUAN Yu is popular in China.As a military officer,GUAN Yu is looked upon as a god.It seems that the worship of GUAN Yu has no connection with Confucian scholars who long for the success in the imperial examination and advocate Confucian ethics.In fact there are countless ties between them.On one hand,the confucianismization of GUAN Yu which Confucian scholars promoted,not only makes GUAN Yu accepted by Confucian scholars,but also establishes the foundation for his turning from a regional god into a national one.On the other hand,though accepted by Confucian scholars,GUAN Yu doesn't conform himself to the standard of Confucian ethics in some aspects
Guan Yu
No full textGuan Yu was a minor general in his own day, who supported one of numerous claimants to the throne in the early third century CE. He was captured and executed by enemy forces in 219. He eventually became one the most popular and influential deities of imperial China under the name Lord Guan or Emperor Guan, of the same importance as the Buddhist bodhisattva Guanyin. This is a study of his cult, but also of the tremendous power of oral culture in a world where writing became increasingly important. The book follows the rise of the deity through his earliest stage as a hungry ghost, his subsequent adoption by a prominent Buddhist monastery during the Tang (617–907) as its miraculous supporter, and his recruitment by Daoist ritual specialists during the Song dynasty (960–1276) as an exorcist general. It continues on with his subsequent roles as a rain god, protector against demons and barbarians, and, eventually, moral paragon and almost messianic saviour. Throughout his divine life, the physical prowess of the deity, more specifically Lord Guan’s ability to use violent action for doing good, remained an essential dimension of his image. Most research ascribes a decisive role in the rise of his cult to the literary traditions of the Three Kingdoms, best known from the famous novel by this name. This book argues that the cult arose from oral culture and spread first and foremost as an oral practice.</p
Chao cai liao yong yu ya bo chang ju jiao: ge xiang yi xing hao sun cai liao yu ti du guang xue na mi bo dao guan
No full textKwok, Hui Kin = 超材料用於亞波長聚焦 : 各向異性耗損材料與梯度光學納米波導管 / 郭栩健.Thesis M.Phil. Chinese University of Hong Kong 2015.Includes bibliographical references (leaves 67-69).Abstracts also in Chinese.Title from PDF title page (viewed on 26, September, 2016).Kwok, Hui Kin = Chao cai liao yong yu ya bo chang ju jiao : ge xiang yi xing hao sun cai liao yu ti du guang xue na mi bo dao guan / Guo Xujian
Shi wu yi ming lu: [40 juan]. v.1
No full text厲荃原輯 ; 關槐增纂.鈐印: "澹然自守書畫自娛"、"七十二芙蓉館藏"、"竹屋"、"陶然"、"玉華館藏".綫裝.出版年據序.框17.2 x 11.3公分, 11行21字, 白口, 左右雙邊, 單魚尾. 版心上鐫"事物異名錄", 版心中鐫捲次.Qian yin: "Dan ran zi shou shu hua zi yu", "Qi shi er fu rong guan cang", "Zhu wu", "Tao ran", "Yu hua guan cang".Xian zhuang.Chu ban nian ju xu.Kuang 17.2 x 11.3 gong fen, 11 hang 21 zi, bai kou, zuo you shuang bian, dan yu wei. Ban xin shang juan "Shi wu yi ming lu", ban xin zhong juan juan ci.Li Quan yuan ji ; Guan Huai zeng zuan
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Guan Yu: The Religious Afterlife of a Failed Hero
No full textA critical study of the rich religious tradition surrounding Guan Yu 關羽
(Guandi 關帝 / Guangong 關公 / Lord Guan) was long overdue. Bared ter Haar’s recent book rises up to the task with commendable thoroughness, a tour de force of religious and cultural history analysis. One of the book’s many contributions is its treatment of religious practices as inseparable from cultural, political, economic, and social action in the construction of shared memory. No less important is the book’s nuanced approach to oral traditions and practices, which, Ter Haar argues, played a more significant role in the history of the Guan Yu cult than written texts that invariably receive excessive attention from scholars. The extensive range and diversity of sources he analyzes in this book is likewise laudable, including local gazetteers, anecdotes, hagiographies, folktales, inscriptions, dramas, morality books (shanshu 善書), and precious scrolls
(baojuan 寶卷)
Violence Un-scrolled : Cultic and Ritual Emphases in Painting Guan Yu
No full textThis essay discusses a painting of the military general and deity Guan Yu. His depiction in the earliest extant court painting of Guan Yu is by Shang Xi, an artist at the Ming court during the early fifteenth century. Previous scholarship has dwelt largely on Guan Yu's significance as a figure of literature and drama, but it has said less concerning his appearance in the rich history of his visualization. This essay suggests that visual depictions of Guan Yu are significant aspects of his growing cult worship during the last centuries of imperial Chinese history. The analysis also proposes a political context for the notion of violent punishment shown in Shang Xi's painting. The essay therefore discusses fifteenth-century court formulations of punishment rituals, which expressed both the government's notion of its political legitimacy and its intense reactions to disloyalty, and it argues that these too provide means to interpret the painting's significance for an early Ming audience.L'objet de l'article est une peinture représentant Guan Yu, général militaire et déité. Cette œuvre, la plus ancienne peinture de cour représentant Guan Yu qui nous soit parvenue, a été peinte par Shang Xi, artiste à la cour des Ming au début du XVe s. On a déjà beaucoup étudié le personnage de Guan Yu dans la littérature et le théâtre, mais on s'est beaucoup moins intéressé à l'histoire très riche de sa figuration visuelle. L'article suggère que les représentations de Guan Yu sont autant d'aspects significatifs du culte grandissant dont il a fait l'objet durant les derniers siècles de la Chine impériale; il s'efforce également d'éclairer le contexte historique dans lequel s'inscrit le châtiment violent que montre la peinture de Shang Xi. Différents rituels de formulations de peine pratiqués à la cour au xve s. sont ainsi étudiés: ils expriment la conviction du pouvoir d'être politiquement légitime en même temps que sa forte réaction vis-à-vis du manque de loyauté, et on montre que ces éléments également sont des indices d'interprétation du sens que revêtait la peinture pour le public du début de l'époque des Ming.Moore Olivier J. Violence Un-scrolled : Cultic and Ritual Emphases in Painting Guan Yu. In: Arts asiatiques, tome 58, 2003. pp. 86-97
The Cult of the Chinese God Guan Yu in the Studies of Russian Sinologists: Fieldwork Observations, Approaches, Methodology
No full textThe paper explores materials, methods and approaches used by Russian sinologists to define and analyse the cult of Guan Yu (also known as Guan-gong, Guandi, etc.), a popular god of the Chinese pantheon, revered by Daoists, Buddhists and educated Confucians, and who was also granted a number of imperial titles. Guan Yu was worshipped in late imperial China as god of war and wealth, paragon of moral virtue and loyalty to the ruler. Published and unpublished materials by Russian scholars shed light on beliefs and practices related to Guan Yu and display an array of methods including translation of original Chinese sources, field observations, scrutiny of numerous written and oral sources as well as mythological motifs. The paper displays how various angles and approaches to the same subject – worship of Guan Yu – allow a multifaceted and wholesome vision of this god’s place in Chinese traditional culture
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