The Five Plague Gods(五瘟神) in the Shuilu(水陆) murals from the Ming and Qing dynasties exemplify a distinctive manifestation of plague gods image developed under the pedigree of Taoist gods.As a significant system f...The Five Plague Gods(五瘟神) in the Shuilu(水陆) murals from the Ming and Qing dynasties exemplify a distinctive manifestation of plague gods image developed under the pedigree of Taoist gods.As a significant system for expelling disasters in Shuilu,the depiction of the Five Plague Gods prominently merges human beings and livestock.This shape form to a large extent,draws on the image of Nuo(傩),a figure reflecting an imagination of the host of plague pathogens.In terms of the numbers of gods,it aligns with the conceptual framework of Wu Xing(五行 the five elements),a foundational principle in traditional Chinese medicine.The internal cultural connection highlights the means of plague prevention and control in China,as well as the external reflection of plague culture.Through multi-dimensional interpretations with the double proof method,this article dissects the formation,core elements,and cultural characteristics of the beliefs in the Five Plague Gods reflected in the Shuilu murals,and transcends mere visual semantics,offering a deeper understanding of these complex cultural symbols.展开更多
Hoi An Ancient Town in Vietnam is not only a UNESCO(United Nations Educational,Scientific,and Cultural Organization)World Heritage Site but also a convergence point of traditional and modern cultures.Throughout its hi...Hoi An Ancient Town in Vietnam is not only a UNESCO(United Nations Educational,Scientific,and Cultural Organization)World Heritage Site but also a convergence point of traditional and modern cultures.Throughout its historical transitions,the cultural heritage of Hoi An Ancient Town has been well preserved and developed,and the worship of Mazu,an essential component of Hoi An’s culture,is no exception.As far as is known,Hoi An in central Vietnam houses the most Mazu temples,including the Chung Wah Hall,the Guangzhou Assembly Hall,the Fujian Assembly Hall,the Teochew Assembly Hall,and the Hainan Assembly Hall,among others,with the Fujian Assembly Hall being the most vibrant center of Mazu worship.This study employs field surveys and literature research to explore the Mazu worship practices at the Fujian Assembly Hall in Hoi An,Quang Nam Province,Vietnam.展开更多
South of Godé, in the central-western region of Burkina Faso, granitoids of Paleoproterozoic age are similar to those of the Man/Leo shield. This study focused on the petrographic and geochemical characteristics ...South of Godé, in the central-western region of Burkina Faso, granitoids of Paleoproterozoic age are similar to those of the Man/Leo shield. This study focused on the petrographic and geochemical characteristics of these granitoids, with the following results: 1) The tonalite that outcrops in the south-west of the study area belongs to the TTG group or first generation granitoids. They are most often ribboned at outcrop and have a geochemical signature close to that of Archean TTGs. Tonalite has a metaluminous character and the REE spectrum indicates that it may be derived from partial melting of basic magmatic rocks. 2) Biotite granites have no outcrop structure. They are weakly metaluminous to peraluminous and potassic to highly potassic. Their rare earth spectra indicate that they may be derived from the partial melting of TTG granitoids. 3) Geotectonic diagrams show that the granitoids studied to the south of Godé were emplaced in an active tectonic context similar to that of present-day subduction zones.展开更多
Ethnic people living on the Tibetan Plateau during the Tubo period have been well-known as not only strong and brave on horses,but they were also an ethnic group enriched with powerful creativity and rich imagination....Ethnic people living on the Tibetan Plateau during the Tubo period have been well-known as not only strong and brave on horses,but they were also an ethnic group enriched with powerful creativity and rich imagination.From Tubo’s cultural art,we can observe a large amount of extremely fine artifacts.For instance,among展开更多
Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art s...Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art shatters the audience’s perception of this god’s traditional image.The role’s exaggerated and awkward body also results in a performance-centered structure in which negative aspects of human nature are vividly portrayed.The eccentric representation brings laughter,but the laughter is also fully charged with Confucian concepts of goodness,righteousness,justice,and tianli天理(the way of heaven).Turning a divine image into a hilarious one is an unconventional manner and also a peculiar tactic of these performers.Through this tactic,these performers not only hide their subtle criticism of the reality and the authority to survive censorship but also disseminate successfully traditional values and folk religious beliefs.This tactic indicates the cultural function of the theater and demonstrates how traditions can remain valid and functional through a force that arises from the interaction between Confucianism,folk religious beliefs,and performance.展开更多
Studying the covers of the three editions of The Kitchen God’s Wife by Amy Tan,a famous female Chinese American writer,the author finds Chinese cultural elements stood out in publishers’earliest recommendations,but ...Studying the covers of the three editions of The Kitchen God’s Wife by Amy Tan,a famous female Chinese American writer,the author finds Chinese cultural elements stood out in publishers’earliest recommendations,but later were replaced by immigrant mother-daughter relationship,and then were overwhelmed by the concern for human beings.It is interesting that this change fits the changing focuses of Chinese American writers in the 21st century.展开更多
基金financed by the grants from Shanxi Province Postgraduate Education Innovation Plan (No. 2023KY126)Humanities and Social Sciences Research Project of The Ministry of Ecuation (No. 23YJAZH182)。
文摘The Five Plague Gods(五瘟神) in the Shuilu(水陆) murals from the Ming and Qing dynasties exemplify a distinctive manifestation of plague gods image developed under the pedigree of Taoist gods.As a significant system for expelling disasters in Shuilu,the depiction of the Five Plague Gods prominently merges human beings and livestock.This shape form to a large extent,draws on the image of Nuo(傩),a figure reflecting an imagination of the host of plague pathogens.In terms of the numbers of gods,it aligns with the conceptual framework of Wu Xing(五行 the five elements),a foundational principle in traditional Chinese medicine.The internal cultural connection highlights the means of plague prevention and control in China,as well as the external reflection of plague culture.Through multi-dimensional interpretations with the double proof method,this article dissects the formation,core elements,and cultural characteristics of the beliefs in the Five Plague Gods reflected in the Shuilu murals,and transcends mere visual semantics,offering a deeper understanding of these complex cultural symbols.
基金sponsored by the 2021 Research Project of Hainan Research Center for Applied Foreign Languages(HNWYJD21-05)by the Scientific Research Project of Hainan Higher Education Institutions(Hnky2023-20).
文摘Hoi An Ancient Town in Vietnam is not only a UNESCO(United Nations Educational,Scientific,and Cultural Organization)World Heritage Site but also a convergence point of traditional and modern cultures.Throughout its historical transitions,the cultural heritage of Hoi An Ancient Town has been well preserved and developed,and the worship of Mazu,an essential component of Hoi An’s culture,is no exception.As far as is known,Hoi An in central Vietnam houses the most Mazu temples,including the Chung Wah Hall,the Guangzhou Assembly Hall,the Fujian Assembly Hall,the Teochew Assembly Hall,and the Hainan Assembly Hall,among others,with the Fujian Assembly Hall being the most vibrant center of Mazu worship.This study employs field surveys and literature research to explore the Mazu worship practices at the Fujian Assembly Hall in Hoi An,Quang Nam Province,Vietnam.
文摘South of Godé, in the central-western region of Burkina Faso, granitoids of Paleoproterozoic age are similar to those of the Man/Leo shield. This study focused on the petrographic and geochemical characteristics of these granitoids, with the following results: 1) The tonalite that outcrops in the south-west of the study area belongs to the TTG group or first generation granitoids. They are most often ribboned at outcrop and have a geochemical signature close to that of Archean TTGs. Tonalite has a metaluminous character and the REE spectrum indicates that it may be derived from partial melting of basic magmatic rocks. 2) Biotite granites have no outcrop structure. They are weakly metaluminous to peraluminous and potassic to highly potassic. Their rare earth spectra indicate that they may be derived from the partial melting of TTG granitoids. 3) Geotectonic diagrams show that the granitoids studied to the south of Godé were emplaced in an active tectonic context similar to that of present-day subduction zones.
文摘Ethnic people living on the Tibetan Plateau during the Tubo period have been well-known as not only strong and brave on horses,but they were also an ethnic group enriched with powerful creativity and rich imagination.From Tubo’s cultural art,we can observe a large amount of extremely fine artifacts.For instance,among
文摘Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art shatters the audience’s perception of this god’s traditional image.The role’s exaggerated and awkward body also results in a performance-centered structure in which negative aspects of human nature are vividly portrayed.The eccentric representation brings laughter,but the laughter is also fully charged with Confucian concepts of goodness,righteousness,justice,and tianli天理(the way of heaven).Turning a divine image into a hilarious one is an unconventional manner and also a peculiar tactic of these performers.Through this tactic,these performers not only hide their subtle criticism of the reality and the authority to survive censorship but also disseminate successfully traditional values and folk religious beliefs.This tactic indicates the cultural function of the theater and demonstrates how traditions can remain valid and functional through a force that arises from the interaction between Confucianism,folk religious beliefs,and performance.
基金USST International Professional Certification and All-English Course Construction,USST Postgraduate Teaching Construction Project.
文摘Studying the covers of the three editions of The Kitchen God’s Wife by Amy Tan,a famous female Chinese American writer,the author finds Chinese cultural elements stood out in publishers’earliest recommendations,but later were replaced by immigrant mother-daughter relationship,and then were overwhelmed by the concern for human beings.It is interesting that this change fits the changing focuses of Chinese American writers in the 21st century.
