This paper outlines Emperor Wen-ti's (581-604 C.E.) rise to power at the onset of the Sui dynasty in China beginning in 581 C.E. until its fall one emperor later in 617 C.E..
Abstract This paper explains that, after the period of dis-unification, Yan Chien proclaimed himself Emperor Wen-ti initiating the Sui dynasty, which was modeled after the earlier Han dynasty. The author points out that the Sui dynasty centralized Chinese power and returned an air of legitimacy to the imperial house; the principles of governance perfected during the Sui Dynasty remained ingrained in imperial China until its dissolution nearly 1,300 years later. The paper relates that Wen-ti chose to demolish the former capitol Ch'ang-an and rebuild it with the help of distinguished architect and engineer Yu-wen K'ai; Ch'ang-an would become not only the center of Chinese political thought but also the center of the Universe, presided over by the "Son of Heaven".
From the Paper "A man of great piety, Wen-ti actively nurtured the construction of Buddhist and Taoist temples and the recovering and re-copying of both religious and secular literature. To further the goals of unification Wen-ti issued decrees on the, "purification of Chinese literary style" (Wright 10). The Emperor offered charters to those willing to build Buddhist temples and both Wen-ti and his empress were to construct several, including one dedicated to her honor after her death in 603 CE. It is said that this temple was to house a tooth of the Buddha brought back by the pilgrim Fa-hsien from India in the fifth century (Wright 89). However pious, Wen-ti and his advisors also saw organized Buddhism as a force that needed constant monitoring in order to retain the Emperor's divine right of pronouncement on all matters of morality and public policy."
Abstract This paper looks at one of the earliest empires in the Chinese Classical Civilization, the Ch?in, often referred to as the Qin. It explores how, although the dynasty did not last long, ranging from the years 221 B.C. to 207 B.C., during this time, many changes occurred, including the use of legalism to the start of the Great Wall. In particular, it shows how the first empire was not a long and successful one, but proved to be a great stepping-stone for the history of China and its progression into the modern world.
From the Paper "The quick rise to power was due to the Ch"in's ability to rapidly adjust to the Legalist philosophy. This was initiated under Lord Shang. Realizing that the growth of the Ch"in's power solely rested upon a more efficient and centralized bureaucratic structure, they had to remove themselves from feudalism. Lord Shang created a new aristocracy based on military merit. To support his military, he instituted a draft at the age of fifteen. In turn what this did was replace the chariot and cavalry warfare, with masses of peasant infantry armed with swords and crossbows."
Abstract This paper examines the link between Asian Art and anthropology through the study of a figure from the T?ang Dynasty (618-907) entitled ?Figure: Tomb-guardian creature (zhenmushou) and dates circa 700-740?S1997.25?. It looks at how the figure gives an insight into the way of life during the T?ang Dynasty (618-907). It demonstrates how the art of China's earliest dynastic periods focused on the cult of the dead and the afterlife and how kings and their officers constructed and decorated lavish tombs which needed to be safeguarded from evil spirits. It shows how the figure in the gallery is obviously a depiction of one of these these warlike figures who stood to protect the dead.
From the Paper "There are some ways in which this relic is not representative of the later T?ang dynasty. "By the time China was unified under the T"ang"in the seventh century, the subject matter of art had become more cosmopolitan and worldly. Secular architecture reached unprecedented grandeur, landscape painting and portraiture flourished, and technological advances in ceramics led to the development of fine porcelain"? (Nelson 2000 p.1) This tomb guardian, while ascribed to the later T?ang dynasty, does not seem to match Dr. Nelson's description, because this is somewhat primitive in its execution."
Abstract This paper briefly traces the history of ancient China. The paper talks about the key elements of the Shang Dynasty, the Chou Dynasty, the Zhou Dynasty, the Han Dynasty, and the T'ang Dynasty. Also discussed is the historical significance placed on the family, the architectural and artistic developments, military conquests, and the Golden Age under the T'ang Dynasty.
From the Paper "The Chinese, under the Chou dynasty, were known for its use of jade, bronze, horse-drawn chariots, ancestor worship, highly organized armies, and human sacrifice. Cities were organized and built enclosed by protective walls rather than allowing the people to continue to exist as loosly knit tribes. Archeological records have found one city surrounded by a wall 30 feet high, 65 feet thick, and 4 1/2 miles long. The greatness of the architectural achievements was a drastic change for a mostly agrarian society. The feudal lifestyle of 1000 BCE china were typified by military squabbles over natural resources and land. By organizing large portions of Chinese citizens inside the walls of a city, the life in daily life in china changed significantly, and changed for the first time in many centuries. Inside the walled cities lived the rulers, priests, and warriors. Similar to the medieval societal structure which evolved in Europe almost 2000 years later, merchants and craftsmen lived in houses built up against the outside walls of the cities. Farmers lived near their fields in nearby villages which afforded them the protection of the city. During the Zhou dynasty, chopsticks were invented, which changed the way people ate their food."
Abstract This paper is an in-depth review of the cultural/social binaries in Ang Lee's 1994 "Eat Drink Man Woman." The paper discusses how these binaries allow the characters to show their complexity as they face the demands of conflicting expectations. The paper also dissects the characterization and development of the movie's three female leads. The paper concludes with the author's assessment that Ang Lee successfully subverts the patriarchal binary schemes of these women's societies.
From the Paper "Ang Lee's 1994 film Eat Drink Man Woman is a mature and empowering cinematic, comedic exploration of the lives and development of a splintering family in contemporary Taiwan. The film begins by setting up a series of stereotypes, drawn from the usual constructions of the Asian household, as well as woman's perceived role in modern society generally. The film is redeemed from simple Hollywood-style re-presentation of the standard tropes by subverting these throughout the film. This subversion itself, however, is becoming cliche in movies today, and the womyn who defy the odds to overthrow the oppressors (see GI Jane, Thelma and Louise, and their ilk) define and limit women unfairly. Lee, however, avoids the temptation of excess, and his characters make choices not because they are self-consciously trying to protest a male dominated world, but because they believe what they are doing is best for them. Their psychology meshes superbly with their development, leaving us satisfied that the characters have become stronger woman because of their own actions vis-a-vis their context, not because of the contrived agenda of the director."
Abstract In this paper, the films of Chinese-American directors John Woo and Ang Lee are considered in relation to Chinese and Americanized film genres. Here, Woo's "Face/Off" (1997) and Lee's "Sense and Sensibility" (1995) are examined for elements of Chinese culture and influence. This paper suggests that each director represent a different aspect of Chinese film, but that Woo's attention to the genre of action films compares most particularly with the martial arts genre made famous in Chinese film industries.
Abstract This literature paper examines the symbolism and feminist perspective in Li Ang's "The Butcher's Wife". It concludes that although the novella ends in tragedy, it still denotes a blow to the patriarchal regime.
Abstract Set in the suburban affluence of 1970s New Canaan, Connecticut, "The Ice Storm" details the detached lives of two families and the dysfunctions experienced by both. This paper examines the movie directed by Ang Lee and shows why it is considered a masterpiece of intellectual art.
From the Paper "Though The Ice Storm clearly exemplifies the banality of evil, it nevertheless fails in furthering the quest for evil. The lives are the characters exist in the realm of the boring, absent of all the passions, desires, and excitements that make life interesting. Sexual taboos are commonplace; the highest values are devalued, leaving nothingness. Adultery embodies the idea of an everyday evil and how when this evil becomes fully integrated into our routine lives, it eventually destroys us spiritually."
Abstract "Brokeback Mountain", directed by Ang Lee, is an astounding story about two young men who meet and fall in love in the summer of 1963 while they are working as sheepherders on Brokeback Mountain, in the state of Wyoming. The paper provides an overview of this controversial, Academy award winning film about the lives and feelings of homosexuals which was released in 2005. It discusses the plot and the theme of sexuality that runs through the movie.
From the Paper "The sadness that they feel is intense as they realize that the feelings that they do have for each other are loving feelings. Both men separate with tears in their eyes, but think in their mind that it is the best thing for the both of them because homosexuality is not accepted in society, especially a country society like Wyoming, where the movie takes place. The tears that the two men cry show the viewer that they really had an emotional relationship and it was not simply "sex"."
Abstract This paper discusses the foreign-language film, "Crouching Tiger, Hidden Dragon," directed by Ang Lee. The paper attempts to provide insight into the impact on Western viewers regarding views on Chinese culture by discussing the themes in this film. It describes some of the positive and negative reviews of the film. The paper concludes that the main concern about the movie "Crouching Tiger," especially by the Chinese viewers and critics, is that it does not portray China's culture and values, but rather the intercultural viewpoint of the director, Lee.
From the Paper "The differences by the students shows, says Zhu (2002) that someone's tacit knowledge of cultural values can persist and be influential in character judgment. The Western culture highly values individualism and the pursuit of happiness, the Chinese instead values collectivism and morality over individualism. It is considered morally inappropriate for a person's pursuit of happiness to occur at the expense of others. While all subjects praised the women's qualities of independence, strength, and strong will, they have different views of Jen. Most American subjects perceived Jen as a free individual, but most of the Chinese audiences criticized her as overly cunning and morally corrupt from a Confucian point of view. However, most Americans found the character Sulian lackluster, since she hesitates to pursue personal happiness, but most Chinese subjects saw her as a well-rounded character who, unlike Jen, is mature and noble enough to control her feelings."
Abstract This paper explains that Ang Lee's film "Brokeback Mountain" is a love story involving a love affair of two people that happen to be men. The movie's connection to the subject of homosexuality raises red flags to many religious organizations, the author points out. The paper underscores that most hit movies contain themes that are very controversial and powerful enough to create a train of thought in society.
From the Paper "It is important for potential film-goers to realize that this movie is more than just super sassy gay men with over ethicized lips and dramatized hips twisted. It has a deeper meaning and a well constructed theme. If viewers can overlook the outer surface of the movie and explore the inside surface, they may find themselves in awe of the hidden messages placed within the movie and may find themselves surprised at how well they can relate to the film and the characters."
A look at how the Chinese revolution influenced literature during the early 1900s specifically focusing on Lu Xun and his novel "The True Story of Ah Q".
Abstract The paper is an account of the Chinese revolution including Sun Yat-Sen, the Ch'ing Dynasty, the Wen Zi Yu laws , the Confucius way of thinking, and a biography of Lu Xun himself. It discusses how Lu Xun was able to capture the essence of the Chinese people during the revolutionary times. It also details the significance of Ah Q's name and its significance to the story. A major point that is made in this paper is how fictional Ah Q is a representation of Lu Xun's world, and how he represents the common man by giving many examples. It also demonstrates how Lu Xun's characters in "The True Story of Ah Q" represent the resistance and the promotion of the changes that were taking place in China during their revolution.
From the Paper "The last dynasty to ever rule in China was the Qing/Ch'ing Dynasty. This particular dynasty was very corrupt and did not meet the needs of its countrymen and women. "The Ch'ing dynasty was established by the Manchus, who invaded China and captured Beijing in 1644, and lasted until 1911. The term Ch'ing means "pure," and it was used to add legitimacy to an alien rule" (The Columbia Encyclopedia, Sixth Edition. 2001). It is ironic to see that the term Ch'ing means 'pure', because it was anything but pure. The Ch'ing dynasty had kept its people oppressed by not responding to their everyday needs. Literature was even under attack when the Wen Zi Yu laws went into effect. The Wen Zi Yu laws outlawed anybody to write anythng against the government, and it also let the government control what was acceptanble and what was unacceptable (Wikipedia Encyclopedia : online sorce). "
Tags: ah, ch, chao, confucianism, dynasty, freedom, liberation, lu, q, qing, ren, republic, sen, sun, wen, xun, yat, yu, zi
Abstract This paper examines how the study of art of the dynasties up to and through the Mongol Yuan dynasties involves the blending of art from the prior dynasties into the Yuan.
Outline
Thesis Statement
The By the Artist Approach
Ch'ien Hsuan
From the Paper "Cahill suggests in his writings, both the work cited and other volumes of his body of works, that perhaps the easiest manner for the Westerner to understand the full significance of Chinese Art through the Yuan dynasties is by the study of several of the artists of the periods involved. This therefore gives one a truer picture of what precisely the circumstances, pressures, social effects and other factors during the time of any given work's preparation. This becomes a vital key to the understanding of the whole scope, and a very large scope it is indeed, of this vast period of World history. A history too many Westerners know very little about and because of the circumstances now existing in China and Taiwan even the Chinese literate are beginning to loose sight of in their headlong rush into globalization. "
Abstract This paper examines the role of western imperialist countries in China and the different types of imperialism they tried to impose. The role of treaty ports are looked at, as are the major events in the imperialist period, such as the Opium Wars, the Treaty of Nanking, and the Silver Purchasing Act. It also pays particular attention to the role of the U.S., Russia and Japan in Chinese imperialist affairs. The modernisation process itself is looked at and also the reaction of the Chinese populace and the Ch'ing dynasty.
From the Paper "At the start of the imperialist period, the British motive for 'opening up' trade in China was driven by the desire and the need to be the dominant military and economic power in the world in order to secure its world hegemony, and in particular its economic hegemony. Britain wanted to 'open up' China "to ensure that India had the means of meeting her financial obligations to Britain, and to this end, markets were sought for Indian as well as for British exports" , in China and in other parts of the Far East, such as Burma and Malaysia. Other powers, however, such as Japan and Russia whilst wanting to open China up for the benefits which it potentially held for them in terms of trade, were also driven by a certain strategic element in their thinking. "
This paper details emperor Hui-Tsung's life, not only as an ineffectual leader but as an accomplished artist, specializing in delicately colored bird-and-flower paintings.
Abstract This paper contains in-depth research on the life of emperor and artist Hui Tsung. The author of this paper discusses Hui-Tsung as a sophisticated antiquarian, whose talent and vision became an increasingly important factor in Chinese art. What differentiated Emperor Hui-tsung's painting style and that of the Literati was the emperor's main focus on Taoistic idealistic realism. Numerous historians of art believe that the Northern Sung Dynasty period produced the greatest realistic landscapes in China's history. This extensive paper also covers in detail the different views and aspects on the history of art in China.
Topics covered in this paper include:
Introduction
The Northern Dissident Literati
Su Ch'e
Confucianism and Taoism
Emperor Hui-tsung
Li T'ang Xia gui
Conclusion
Chinese footnotes
Bibliography
From the Paper "According to a translation from the German Tripod Mitgdeider Home Page, which includes an anthology of Chinese Poets of the Sung Dynasty, Ou Yang hsiu was an outstanding proselytizer and poet of the ' Northern Sung '. His pen name was Tsui weng, which has been translated as "the old gray drunk". Ou Yang's father died when he was four years old and he grew up in difficult conditions. It is said that his mother taught him reading and he was forced to write in the dirt, having no money to purchase paper. Later he took the civil service exams and became politically active. He belonged to the progressive fan Chung Yen and was eventually deported to a remote area of China. Despite this set back, he devoted himself to transforming the poetry and prose of his period. Although He was a devotee of the T'ang poet and the famous philosopher Han Uye, his work was smoothly elegant and unique having almost a musical quality."
