The Water God s Temple of the Guangsheng Monastery

CHAPTER FOUR THE MURALS FROM THE GUANGSHENG LOWER TEMPLE The Water God's ... The Water God was regarded as a deity of the Guangsheng Monastery in some Song ...

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Author: Anning Jing

Publisher: BRILL

ISBN: 9004119256

Category: Social Science

Page: 294

View: 447

An investigation of the myth, history, inscriptions, architecture, sculpture, painting, iconological program, festival, rituals and theater of the only known intact ancient dragon king temple in China

China Review International

The Water God's Temple of the Guangsheng Monastery : Cosmic Function of Art , Ritual , and Theater . Sinica Leidensia , vol . 53. Leiden , Boston , and Köln ...

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Author:

Publisher:

ISBN: MINN:31951P00937385P

Category: China

Page:

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The Spatiality of Emotion in Early Modern China

See Anning Jing, The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater (Leiden: Brill, 2002), 57.

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Author: Ling Hon Lam

Publisher: Columbia University Press

ISBN: 9780231547581

Category: Literary Criticism

Page:

View: 598

Emotion takes place. Rather than an interior state of mind in response to the outside world, emotion per se is spatial, alternately embedding itself in us, transporting us, or dividing us from without. In this book, Ling Hon Lam gives a deeply original account of the history of emotions in Chinese literature and culture centered on the idea of emotion as space, which the Chinese call “emotion realm” (qingjing). Lam traces how the emotion realm underwent significant transformations from the dreamscape to theatricality in sixteenth- to eighteenth-century China. Whereas medieval dreamscapes delivered the subject into one illusory mood after another, early modern theatricality turned the dreamer into a spectator who is no longer falling through endless oneiric layers but pausing in front of the dream.Through the lens of this genealogy of emotion realms, Lam remaps the Chinese histories of morals, theater, and knowledge production, which converge at the emergence of sympathy, redefined as the dissonance among the dimensions of the emotion realm pertaining to theatricality.The book challenges the conventional reading of Chinese literature as premised on interior subjectivity, examines historical changes in the spatial logic of performance through media and theater archaeologies, and ultimately uncovers the different trajectories that brought China and the West to the convergence point of theatricality marked by self-deception and mutual misreading. A major rethinking of key terms in Chinese culture from a comparative perspective, The Spatiality of Emotion in Early Modern China develops a new critical vocabulary to conceptualize history and existence.

The Conservation of Decorated Surfaces on Earthen Architecture

The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater. Leiden: Brill. Jones, E. 1955. Correspondence.

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Author: Getty Conservation Institute

Publisher: Getty Publications

ISBN: 9780892368501

Category: Architecture

Page: 191

View: 365

For millennia, people of all cultures have decorated the surfaces of their domestic, religious, and public buildings. Earthen architecture in particular has been, and continues to be, a common ground for surface decoration such as paintings, sculpted bas-relief, and ornamental plasterwork. This volume explores the complex issues associated with preserving these surfaces. Case studies from Asia, Europe, Africa, the Middle East, and the Americas are presented. The publication is the result of a colloquium held in 2004 at Mesa Verde National Park, Colorado, co-organized by the Getty Conservation Institute (GCI) and the National Park Service (NPS). The meeting brought together fifty-five conservators, cultural resource managers, materials scientists, engineers, architects, archaeologists, anthropologists, and artists from eleven countries. Divided into four themes--Archaeological Sites, Museum Practice, Historic Buildings, and Living Traditions--the papers examine the conservation of decorated surfaces on earthen architecture within these different contexts.

Diversity in the Great Unity

... 明應王殿 of Shuishen (Water God) Temple 水神廟 of the Lower Guangsheng Monastery; or three-by-three bays, such as the main hall of Erlang Temple 二郎廟 ...

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Author: Lala Zuo

Publisher: University of Hawaii Press

ISBN: 9780824879839

Category: Architecture

Page: 252

View: 116

Timber-framed architecture has long been viewed as an embodiment of Chinese civilization, a hierarchic society ruled by Confucian orthodoxy. Throughout its history, Chinese architectural design was closely regulated by court-enforced building codes, which created a highly standardized and modularized system. In Diversity in the Great Unity—the first in-depth English-language work to present regional traditions of Chinese architecture based on a detailed study of the timber construction system—Lala Zuo maintains that during the nearly century-long Yuan dynasty (1271–1368), the tradition of “Han-Chinese” architecture as coded, uniform, and controlled by the central government did not take hold. She presents case studies of twenty buildings along the Yangtze River built during the Yuan, often considered a transitional phase in Chinese architectural history. Most of the structures have firm dates, and all are analyzed according to patronage, chronology, and function. Their representativeness is determined by their broad geographic distribution as well as by their scarcity. Numerous photographs and line-drawings accompany the analyses. Referencing Yuan architecture in north China along the Yellow River, Zuo outlines its characteristics in three regions and connects the regional traditions to periods before and after the Yuan, allowing her to contextualize architecture in Yuan social and political history. She explains how the division of regional traditions, especially those in the south, contributed to the transformation of dynastic styles from the Song (960–1279) to the Ming (1368–1644) and how the Song-Yuan migration may have affected architectural design. An appendix presents an extensive glossary of Chinese architectural terms in Song terminology to enable a better understanding of the subject. Although the primary focus of this book is the technical evolution of surviving Yuan architecture, its interdisciplinary approach goes beyond architecture by offering a re-evaluation of Chinese society in light of cultural and religious diversity under Mongol rule.

The Heavenly Court

Daoist Temple Painting in China, 1200-1400 Lennert Gesterkamp ... Jing Anning, The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, ...

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Author: Lennert Gesterkamp

Publisher: BRILL

ISBN: 9789004190238

Category: Art

Page: 492

View: 758

This book offers a comprehensive investigation into the history, iconography, ritual context, design, and personalisations by patrons of four Daoist temple paintings depicting a theme called Heavenly Court painting (chaoyuan tu) in China of the thirteenth and fourteenth centuries.

Local Religion in North China in the Twentieth Century

4 Anning Jing (2002) The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual and Theatre. Leiden, Boston and Koln: Brill, pp.

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Author: Daniel L. Overmyer

Publisher: BRILL

ISBN: 9789004175921

Category: Social Science

Page: 219

View: 329

This book is a comprehensive survey of the structure, organization and institutionalization of local community religious traditions in north China villages in the twentieth century. These traditions have their own forms of leaders, deities and beliefs. Despite much local variation one everywhere finds similar temples, images, offerings and temple festivals, all supported by practical concerns for divine aid to deal with the problems of everyday life. These local traditions are a structure in the history of Chinese religions; they have a clear sense of their own integrity and rules, handed down by their ancestors. There are Daoist, Buddhist and government influences on these traditions, but they must be adapted to the needs of local communities. It is the villagers who build temples and organize festivals, in which all members of the community are expected to participate and contribute. With chapters on such topics as historical origins and development, leadership and organization, temple festivals, temples and deities, and beliefs and values.

China

The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater. Leiden: Brill, 2002. jordan, David.

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Author: John Lagerwey

Publisher: Hong Kong University Press

ISBN: 9789888028047

Category: History

Page: 248

View: 996

Over the last 40 years, our vision of Chinese culture and history has been transformed by the discovery of the role of religion in Chinese state-making and in local society. The Daoist religion, in particular, long despised as "superstitious," has recovered its place as "the native higher religion." But while the Chinese state tried from the fifth century on to construct an orthodoxy based on Confucianism, Daoism, and Buddhism, local society everywhere carved out for itself its own geomantically defined space and organized itself around local festivals in honor of gods of its own choosing-gods who were often invented and then represented by illiterate mediums. Looking at China from the point of view of elite or popular culture therefore produces very different results.--John Lagerwey has done extensive fieldwork on local society and its festivals. This book represents a first attempt to use this new research to integrate top-down and bottom-up views of Chinese society, culture, and history. It should be of interest to a wide range of China specialists, students of religion and popular culture, as well as participants in the ongoing interdisciplinary dialogue between historians and anthropologists.--John Lagerwey is professor of Daoist history at the ?cole Pratique des Hautes ?tudes and of Chinese studies at the Chinese University of Hong Kong. He is author of Taoist Ritual in Chinese Society and History and editor of the 30-volume "Traditional Hakka Society Series" as well as the recently published four-volume set Early Chinese Religion.-----

Chinese Architecture in an Age of Turmoil 200 600

The Water God's Temple of the Guangsheng Monastery. Leiden: Brill, 2002. Jiu Guanwu jjīffi. “Shanxi Zhongtiaoshan nan Wulongmiao' LIFE Hs;L||Făjišā ...

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Author: Nancy Shatzman Steinhardt

Publisher: University of Hawaii Press

ISBN: 9780824838232

Category: Art

Page: 496

View: 283

Between the fall of the Han dynasty in 220 CE and the year 600, more than thirty dynasties, kingdoms, and states rose and fell on the eastern side of the Asian continent. The founders and rulers of those polities represented the spectrum of peoples in North, East, and Central Asia. Nearly all of them built palaces, altars, temples, tombs, and cities, and almost without exception, the architecture was grounded in the building tradition of China. Illustrated with more than 475 color and black-and-white photographs, maps, and drawings, Chinese Architecture in an Age of Turmoil uses all available evidence—Chinese texts, secondary literature in six languages, excavation reports, and most important, physical remains—to present the architectural history of this tumultuous period in China’s history. Its author, Nancy Shatzman Steinhardt, arguably North America’s leading scholar of premodern Chinese architecture, has done field research at nearly every site mentioned, many of which were unknown twenty years ago and have never been described in a Western language. The physical remains are a handful of pagodas, dozens of cave-temples, thousands of tombs, small-scale evidence of architecture such as sarcophaguses, and countless representations of buildings in paint and relief sculpture. Together they narrate an expansive architectural history that offers the first in-depth study of the development, century-by-century, of Chinese architecture of third through the sixth centuries, plus a view of important buildings from the two hundred years before the third century and the resolution of architecture of this period in later construction. The subtext of this history is an examination of Chinese architecture that answers fundamental questions such as: What was achieved by a building system of standardized components? Why has this building tradition of perishable materials endured so long in China? Why did it have so much appeal to non-Chinese empire builders? Does contemporary architecture of Korea and Japan enhance our understanding of Chinese construction? How much of a role did Buddhism play in construction during the period under study? In answering these questions, the book focuses on the relation between cities and monuments and their heroic or powerful patrons, among them Cao Cao, Shi Hu, Empress Dowager Hu, Gao Huan, and lesser-known individuals. Specific and uniquely Chinese aspects of architecture are explained. The relevance of sweeping—and sometimes uncomfortable—concepts relevant to the Chinese architectural tradition such as colonialism, diffusionism, and the role of historical memory also resonate though the book.

Miraculous Response

The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theatre. Leiden: Brill. Jing, Jun. 1996. The Temple of Memories: ...

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Author: Adam Yuet Chau

Publisher: Stanford University Press

ISBN: 0804767653

Category: Religion

Page: 336

View: 218

This book-length ethnography of the revival of a popular religious temple in contemporary rural China examines the organizational and cultural logics that inform the staging of popular religious activities. It also explores the politics of the religious revival, detailing the relationships of village-level local activists and local state agents wtih temple associations and temple bosses. Shedding light on shifting state-society relationships in the reform era, this book is of interest to scholars and students in Asian Studies, the social sciences, and religious and ritual studies.

The Grand Documentation

Ferdinand Hestermann: Review Boerschmann: Gedächtnistempel, in Anthropos, ... Anning Jing: The Water God's Temple of the Guangsheng Monastery: Cosmic ...

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Author: Eduard Kögel

Publisher: Walter de Gruyter GmbH & Co KG

ISBN: 9783110401349

Category: Architecture

Page: 592

View: 783

Ernst Boerschmann was the most influential foreign architectural researcher in China in the first half of the twentieth century. This book concerns his three-year research expedition through the Chinese Empire (1906–1909). He was the first Westerner to systematically document China’s religious architecture, returning from his travels with thousands of photographs, sketches, and architectural surveys. His six major publications leading up to 1931, described here alongside the reactions they caused, were milestones on the path to formal study of Chinese architectural history, long before Chinese academics themselves began to take interest in the subject in the 1930s.

The World of Khubilai Khan

... bihua chutanU E' 1% 'fies (Preliminary investigation into the wall paintings in the Water God Temple of Guangsheng monastery). Wenwu 51%, no. 5: 86—91.

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Author: James C. Y. Watt

Publisher: Metropolitan Museum of Art

ISBN: 9780300166569

Category: Art

Page: 342

View: 971

Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2010-Jan. 2, 2011.

In Search of the Folk Daoists of North China

Jing anning (2002) The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater, leiden: Brill.

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Author: Stephen Jones

Publisher: Routledge

ISBN: 9781317117889

Category: Religion

Page: 312

View: 611

The living practice of Daoist ritual is still only a small part of Daoist studies. Most of this work focuses on the southeast, with the vast area of north China often assumed to be a tabula rasa for local lay liturgical traditions. This book, based on fieldwork, challenges this assumption. With case studies on parts of Hebei, Shanxi, Shaanxi, and Gansu provinces, Stephen Jones describes ritual sequences within funerals and temple fairs, offering details on occupational hereditary lay Daoists, temple-dwelling priests, and even amateur ritual groups. Stressing performance, Jones observes the changing ritual scene in this poor countryside, both since the 1980s and through all the tribulations of twentieth-century warfare and political campaigns. The whole vocabulary of north Chinese Daoists differs significantly from that of the southeast, which has so far dominated our image. Largely unstudied by scholars of religion, folk Daoist ritual in north China has been a constant theme of music scholars within China. Stephen Jones places lay Daoists within the wider context of folk religious practices - including those of lay Buddhists, sectarians, and spirit mediums. This book opens up a new field for scholars of religion, ritual, music, and modern Chinese society.

The Immortal Maiden Equal to Heaven and Other Precious Scrolls from Western Gansu

The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater. Leiden: Brill. Jiuquan baojuan shangbian 酒泉宝卷上編.

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Author: Wilt L. Idema

Publisher: Cambria Press

ISBN: 9781621967187

Category: Literary Collections

Page: 546

View: 596

Following thirty years of suppression as feudal superstition, Chinese popular religion has made a spectacular comeback since the 1980s. One aspect of this phenomenon has been the return of precious scrolls as ritual and entertainment in several regions of China, most notably the economically advanced Wu-dialect area and the poor countryside of Western Gansu. As these texts were performed once again, they have been collected, edited, and published as part of China's Intangible Cultural Heritage. These materials greatly broaden and deepen our knowledge of popular literature, ritual, and religion and open a new window into the values and customs of local society. The texts also offer unique insights into the history of the region as seen through the eyes of the local population who had to confront the harsh environment and frequent incursions of nomadic groups. Given the wealth of knowledge to be gained, it is not surprising that these materials are attracting the growing attention of scholars. The Immortal Maiden Equal to Heaven and Other Precious Scrolls from Western Gansu by eminent Sinologist Wilt Idema is thus a significant foray into the area. This unprecedented book provides complete and annotated translations of six precious scrolls that have never before been translated. An insightful and helpful introduction precedes each translation. The study includes a general survey of the development, origin, context, and popularity of the narrative and concludes with a discussion of available modern editions.

Picturing the True Form

The Water God's Temple of the Guangsheng Monastery : Cosmic Function of Art , Ritual , and Theater . Leiden : Brill , 2002 . . 2002b .

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Author: Shih-shan Susan Huang

Publisher: BRILL

ISBN: 9781684175161

Category: Religion

Page: 497

View: 780

"Picturing the True Form investigates the long-neglected visual culture of Daoism, China’s primary indigenous religion, from the tenth through thirteenth centuries with references to both earlier and later times. In this richly illustrated book, Shih-shan Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, and paintings, as well as other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not static, but entails an active journey of seeing underlying and secret phenomena. This book’s structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluid. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. It is these particular features that distinguish Daoist visual culture from its Buddhist counterpart."

The Dragon in Medieval East Christian and Islamic Art

Jing, A. 2002 The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual and Theatre, Leiden, Boston and Cologne, 2002.

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Author: Sara Kuehn

Publisher: BRILL

ISBN: 9789004209725

Category: Social Science

Page: 404

View: 542

This book is a pioneering work on a key iconographic motif, that of the dragon. It examines the perception of this complex, multifaceted motif within the overall intellectual and visual universe of the medieval Irano-Turkish world. Using a broadly comparative approach, the author explores the ever-shifting semantics of the dragon motif as it emerges in neighbouring Muslim and non-Muslim cultures.

Women of the Conquest Dynasties

The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater. Boston: Brill, 2002. Johnson, Linda Cooke.

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Author: Linda C. Johnson

Publisher: University of Hawaii Press

ISBN: 9780824860240

Category: History

Page: 280

View: 365

China’s historical women warriors hailed from the northeast (Manchuria) during the Liao (907–1125) and Jin (1115–1234) dynasties. Celebrated in the Liao History, they were "unprecedented." They rode horseback astride, were good at hunting and shooting, and took part in military battles. Several empresses—and one famous bandit chief—led armies against the enemy Song state. Women of the Conquest Dynasties represents a groundbreaking effort to survey the customs and lives of these women from the Kitan and Jurchen tribes who maintained their native traditions of horsemanship, militancy, and sexual independence while excelling in writing poetry and prose and earning praise for their Buddhist piety and Confucian ethics. Although much work has been devoted in the last few years to Chinese women of various periods, this is the first volume to incorporate recent archaeological discoveries and information drawn from Liao and Jin paintings as well as literary sources and standard historical accounts. Conquest women combined agency and assertiveness drawn from steppe traditions with selected aspects of Chinese culture such as ethics and literacy. Empress Chengtian led Liao armies to victory against the Song, successfully ran the state for thirty years during her son’s reign, and enjoyed a lengthy and public liaison with her prime minister. Empress Yingtian, the wife of the Liao founder and his assistant in military affairs, famously refused to comply with the steppe custom of following one’s husband in death; instead she cut off her right hand and placed it in the late emperor’s coffin as a promise to join him later. These confident and talented women were rarely submissive in matters of sexuality and spouse selection, but they were subject to the restrictions of marriage and the levirate if widowed. The women of the northeast stand in vivid contrast to their counterparts in the south, where female identity was molded by a millennia of Confucian ethics and women were increasingly sequestered in the home and constrained by concepts of virtue. Women of the Conquest Dynasties provides new insights into the history of steppe patterns of feminine behavior and will reveal new areas of comparative study.

Love and Emotions in Traditional Chinese Literature

Jing , A. The Water God's Temple of the Guangsheng Monastery . Cosmic Function of Art , Ritual , and Theater . 2001. ISBN 90 04 11925 6 54.

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Author: Halvor Eifring

Publisher: BRILL

ISBN: 9004137106

Category: Literary Criticism

Page: 332

View: 582

This volume provides a first step towards a conceptual history of a key term in traditional Chinese culture, "qing," often translated as 'emotion'. The essays cover the classical period and Chan Buddhist sources, in addition to Ming-Qing fiction and drama.

Sudden Appearances

The Water God's Temple of the Guangsheng Monastery: Cosmic Function of Art, Ritual, and Theater. Leiden: Brill, 2002. Juneja, Monica.

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Author: Roxann Prazniak

Publisher: University of Hawaii Press

ISBN: 9780824878085

Category: History

Page: 316

View: 136

An era rich in artistic creations and political transformations, the Mongol period across Eurasia brought forth a new historical consciousness visible in the artistic legacy of the thirteenth and fourteenth centuries. Historicity of the present, cultivation of the secular within received cosmologies, human agency in history, and naturalism in the representation of social and organic environments all appear with consistency across diverse venues. Common themes, styles, motifs, and pigments circulated to an unprecedented extent during this era creating an equally unprecedented field of artistic exchange. Exploring art’s relationship to the unique commercial and political circumstances of Mongol Eurasia, Sudden Appearances rethinks many art historical puzzles including the mystery of the Siyah Kalem paintings, the female cup-bearer in the Royal Drinking Scene at Alchi, and the Mongol figures who appear in a Sienese mural. Drawing on primary sources both visual and literary as well as scholarship that has only recently achieved critical mass in the areas of Mongolian studies and Eurasian histories, Roxann Prazniak orchestrates an inquiry into a critical passage in world history, a prelude to the spin-off to modernity. Sudden Appearances highlights the visual and emotional prompts that motivated innovative repurposing of existing cultural perspectives and their adjustment to expanding geographic and social worlds. While early twentieth-century scholarship searched for a catholic universalism in shared European and Chinese art motifs, this inquiry looks to the relationships among societies of central, western, and eastern Asia during the Mongol era as a core site of social and political discourse that defined a globalizing era in Eurasian artistic exchange. The materiality of artistic creativity, primarily access to pigments, techniques, and textiles, provides a path through the interconnected commercial and intellectual byways of the long thirteenth century. Tabriz of the Ilkhanate with its proximity to the Mediterranean and al-Hind seas and relations to the Yuan imperial center establishes the geographic and organizational hub for this study of eight interconnected cities nested in their regional domains. Avoiding the use of modern geographic markers such as China, Europe, Middle East, India, Sudden Appearances shifts analysis away from the limits of nation-state claims toward a borderless world of creative commerce.