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This book presents an archeological interpretation of the history of Chinese civilization. Tracing back from recent history to the distant past, it explores the breadth of Chinese civilization. Using archeological remains and cultural relics as starting points and approaching the cultural dimension from material perspectives, it presents a panoramic view of China's civilizational continuity, together with its ideological and cultural characteristics. Featuring a wealth of illustrations (including photos of cultural relics and sites, archeological surveys, etc.) and texts written in easy-to-understand language, it offers an engaging read without sacrificing academic quality. The main components of “civilization” are addressed: capital archeology, mausoleum archeology, ritual wares and architecture archeology, as well as written language. The book offers a unique resource for archeology scholars and majors, as well as general readers who are interested in Chinese archeology and history.

This new Supplement to the Nobel Prize Winners series presents detailed accounts of the lives and work of the men, women, and institutions that earned the Nobel Prize from 2002 through 2018.

This book was compiled by the Handbook of the Knowledge of Chinese History Editing Group from the Institute of History of Chinese Academy of Social Sciences (CASS) and is intended to be used in conjunction with History of China: A Concise Reader writtenby the Institute of History, CASS. It compiled basic Chinese historical information in a concise handbook of Chinese History for readers. This book is comprised of four parts: glossary of Chinese history, a timeline of Chinese history, lists of monarchs of the Xia, Shang and Zhou dynasties and the dates of their Reign and a table of era names of the imperial dynasties, and it covers historical, theoretical concepts and the whole of Chinese history from the origin of human beings to the end of the Qing dynasty.This book presents brief and concise historical concepts. It described the basic knowledge of Chinese history with simple language which is easy to understand. The arrangement of the terms is based on the following sequence: The name of the dynasty, the name of the state, political events, political system, economic system, legal system, military system, ethnicity and foreign relations, historical geography, science and technology, thought and culture, book names, peoples'names. Names of dynasties, names of states and political events are all arranged according to dates.

In Father of Chinese History, Esther Klein explores the life and work of the great Han dynasty historian Sima Qian as seen by readers from the Han to the Song dynasties. Today Sima Qian is viewed as both a tragic hero and a literary genius. Premodern responses to him were more equivocal: the complex personal emotions he expressed prompted readers to worry about whether his work as a historian was morally or politically acceptable. Klein demonstrates how controversies over the value and meaning of Sima Qian's work are intimately bound up with larger questions: How should history be written? What role does individual experience and self-expression play within that process? By what standards can the historian's choices be judged?

When in 1775 the scholar Wang Xihou compiled a dictionary called Ziguan, he wrote, for illustrative purposes, the personal names of Confucius and the three emperors Kangxi, Yongzheng and Qianlong in the introduction. In oversight, he recorded their complete names. This accidental writing of a few names was condemned by Emperor Qianlong as an unprecedented crime, rebellion and high treason. Wang Xihou was executed, his property confiscated and his books were burnt. His family was arrested and his sons and grandsons were killed or sent as slaves to Heilongjiang. It is surprising what an enormous impact the tabooing of names (bihui) had on Chinese culture. The names of sovereigns, ancestors, officials, teachers, and even friends were all considered taboo, in other words it was prohibited to pronounce them or to record them in writing. In numerous cases characters identical or similar in writing or pronunciation were often avoided as well. The tabooing of names was observed in the family and on the street, in the office and in the emperor's palace. The practice of bihui had serious consequences for the daily lives of the Chinese and for Chinese historiography. People even avoided certain places and things, and refused to accept offices. They were punished and sometimes even killed in connection with the tabooing of names. The bihui custom existed as an important element of Chinese culture and was perceived as significant by Chinese and foreigners alike. It was crucial for implementing social values and demonstrating the political hierarchy. The present work A Good Son Is Sad if He Hears the Name of His Father is a systematic study of Chinese name-tabooing customs, which until now have been relatively little explored in Western-language Sinological studies. It attempts to provide a long-term perspective on the changing dynamics of tabooing and elucidates various aspects related to the fascinating topic of tabooing of names.

This collection of 106 poems by 44 female Tang-era poets is the most comprehensive of its kind. Poets are organized based on their status in Tang dynasty society: women of the court, women of the household, courtesans and entertainers, and women of religion. While each poet's concerns vary with their social status, common thematic threads include heartbreak and the mysteries of the natural world. Thumbnail biographies of each poet and notes regarding individual poems complete this important collection.Jeanne Larsen has published poetry, three novels set in China, and a book of poetry translation, Brocade River Poems: Selected Works of the Tang Dynasty Courtesan Xue Tao. She teaches in the creative writing program at Hollins University in Roanoke, Virginia.

Selected, peer reviewed papers from the 2012 2nd International Conference on Chemical, Material and Metallurgical Engineering (ICCMME 2012), December 15-16, 2012, Kunming China

Intellectually and visually stimulating, this important landmark book looks at the religious, political, social and artistic significance of the Imperial tombs of the Tang Dynasty (618-907 AD). It traces the evolutionary development of the most elaborately beautiful imperial tombs to examine fundamental issues on death and the afterlife in one of the world's most sophisticated civilizations. Selected tombs are presented in terms of their structure, artistic programs and their purposes. The author sets the tombs in the context of Chinese attitudes towards the afterlife, the politics of mausoleum architecture, and the artistic vocabulary which was becoming the mainstream of Chinese civilization.

From the first century, when Buddhism entered China, the foreign religion shaped Chinese philosophy, beliefs, and ritual. At the same time, Buddhism had a profound effect on the material world of the Chinese. This wide-ranging study shows that Buddhism brought with it a vast array of objects big and small--relics treasured as parts of the body of the Buddha, prayer beads, and monastic clothing--as well as new ideas about what objects could do and how they should be treated. Kieschnick argues that even some everyday objects not ordinarily associated with Buddhism--bridges, tea, and the chair--on closer inspection turn out to have been intimately tied to Buddhist ideas and practices. Long after Buddhism ceased to be a major force in India, it continued to influence the development of material culture in China, as it does to the present day. At first glance, this seems surprising. Many Buddhist scriptures and thinkers rejected the material world or even denied its existence with great enthusiasm and sophistication. Others, however, from Buddhist philosophers to ordinary devotees, embraced objects as a means of expressing religious sentiments and doctrines. What was a sad sign of compromise and decline for some was seen as strength and versatility by others. Yielding rich insights through its innovative analysis of particular types of objects, this briskly written book is the first to systematically examine the ambivalent relationship, in the Chinese context, between Buddhism and material culture.