The Culture of China (Understanding China)

The Culture of China (Understanding China)

Language: English

Pages: 300

ISBN: 1615301402

Format: PDF / Kindle (mobi) / ePub


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sage-king, formed an organic unity as an integral part of the great cosmic transformation. Politics means moral persuasion, and the purpose of the government is not only to provide food and maintain order but also to educate. The poetic vision, contained in the Shijing, underscores the Confucian valuation of common human feelings. The majority of verses give voice to emotions and sentiments of communities and persons from all levels of society expressed on a variety of occasions. The basic theme

blame to the most powerful and influential political actors of the period. Not only did this practice inspire the innovative style of the grand historian Sima Qian (c. 145–c. 87 BCE) but it was also widely employed by others writing dynastic histories in imperial China. in developing a characteristically Han interpretation of Confucianism. Despite Wudi’s pronouncement that Confucianism alone would receive imperial sponsorship, Daoists, yin-yang cosmologists, Legalists, shamanists, practitioners

devoted solely to music. China also has distinct theatrical traditions, including Chinese opera. Over the centuries, two main schools have developed—quiet, refined kunqu, which started as a folk art, but which later became famed for being sophisticated and refined, and energetic jingxi (Peking) opera, so called because it is closely associated with China’s capital city of Beijing (formerly spelled Peking). Unlike kunqu, which is poetic and accompanied by flutes and stringed instruments, jingxi is

accepted the Mahaprajnaparamitashastra as a basic text, Sanlun regained preeminence as a result of the teachings of Sengzhao, Kumarajiva’s disciple, and later of Jizang. Both of these Chinese Madhyamika masters commented on Nagarjuna’s thesis in numerous influential works. Yogacara/Vijnanavada (Faxiang/Hossō) The Yogacara (or Vijnanavada) school was founded, according to tradition, by the brothers Asanga and Vasubandhu (4th/5th century CE) and by Sthiramati (6th century), who systematized

the end of the dynasty, the bronze style became increasingly refined: the decoration was confined within a simpler contour, and the interlacing of the Xinzheng style gave way to the fine, hooked “comma pattern” of the vessels of the 5th and 4th centuries BCE. By this time, bronze decor had come under the influence of textile patterns and technique, particularly embroidery, as well as of lacquer decor, suggesting the bronze medium’s decline from primacy. Bronzes decorated in this Chinese bronze

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