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Historical cultural heritage sites are valuable for all of mankind, as they reflect the material and spiritual wealth of by nations, countries, or specific groups during the development of human civilization. The types and functions of microorganisms that form biofilms on the surfaces of architectural heritage sites influence measures to preserve and protect these sites. These microorganisms contribute to the biocorrosion of architectural heritage structures through the cycling of chemical elements. The ancient city wall of Shou County is a famous architectural and cultural heritage site from China's Song Dynasty, and the protection and study of this site have substantial historical and cultural significance. In this study, we used metagenomics to study the microbial diversity and taxonomic composition of the Song Dynasty city wall in Shou County, a tangible example of Chinese cultural heritage. The study covered three main topics: (1) examining the distribution of bacteria in the biofilm on the surfaces of the Song Dynasty city wall in Shou County; (2) predicting the influence of bacteria involved in the C, N, and S cycles on the corrosion of the city wall via functional gene analysis; and (3) discussing cultural heritage site protection measures for biocorrosion-related bacteria to investigate the impact of biocorrosion on the Song Dynasty city wall in Shou County, a tangible example of Chinese cultural heritage. The study revealed that (1) the biofilm bacteria mainly belonged to Proteobacteria, Actinobacteria, Cyanobacteria, Bacteroidetes, and Firmicutes, which accounted for more than 70% of the total bacteria in the biofilms. The proportion of fungi in the microbial community of the well-preserved city wall was greater than that in the damaged city wall. The proportion of archaea was low—less than 1%. (2) According to the Shannon diversity index, the well-preserved portion of the ancient city wall had the highest diversity of bacteria, fungi, and archaea, and bacterial diversity on the good city wall was greater than that on the corroded city wall. (3) Bray–Curtis distances revealed that the genomes of the two good city walls were similar and that the genomes of the corroded city wall portions were similar. Researchers also detected human intestine-related bacteria in four locations on the city walls, with the proportion of these bacteria in the microbial community being greater on good city walls than on bad city walls. (4) KEGG functional analysis revealed that the energy metabolism and inorganic ion transport activities of the bacterial community on the corroded city wall were greater than those of the good city wall. (5) In the carbon cycle, the absence of active glycolysis, the ED pathway, and the TCA cycle played significant roles in the collapse of the east city wall. (6) The nitrogen cycling processes involved ammonia oxidation and nitrite reduction to nitrate. (7) In the sulfur cycle, researchers discovered a crucial differential functional gene, SoxY, which facilitates the conversion of thiosulfate to sulfate. This study suggests that, in the future, biological approaches can be used to help cultural heritage site protectors achieve targeted and precise protection of cultural relics through the use of microbial growth inhibition technology. The results of this study serve as a guide for the protection of cultural heritage sites in other parts of China and provide a useful supplement to research on the protection of world cultural heritage or architectural heritage sites. [ABSTRACT FROM AUTHOR]

The Song dynasty (960–1279 A.D.) witnessed a surge of scientific and technological development, notably in mechanical engineering, metallurgy, shipbuilding and nautics, civil engineering, manufacturing, etc. At the same time, Neo‐Confucianism, which advocated 'upholding heavenly principle and annihilating human desire', flourished in Song time. The rise of Neo‐Confucianism as a conservative movement appeared fundamentally at odds with the splendid technological achievements in Medieval China. To address the question, we dismantle the notion of Neo‐Confucianism in the Song dynasty context by constructing the indices of the Neo‐Confucian spirit characterized by the pursuit of principle (li), broad learning, and scepticism on the basis of Song Confucian works recorded in the Records of Song and Yuan scholarship (Song Yuan xue an). Our results show that the popularity of Neo‐Confucianism facilitated the development of science and technology during the Song period. Using historical Confucian academy data compiled from several extensive surveys, we show that the vigorous development of the Confucian academies served as a channel to propagate the Neo‐Confucian spirit in a locality, thereby influencing the scientific and technological output of the Song era. [ABSTRACT FROM AUTHOR]

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dalian Island, located in the northwest of Pingtan County, Fujian Province, China, has been an important junction on the Maritime Silk Road since the Tang dynasty. This study focuses on sauce-glazed ceramic ware from the Song dynasty salvaged from the waters near Dalian Island Wharf. The composition, phase attributes, and microstructures of the marine organism remains attached to the ceramic ware were analyzed using an optical microscope, scanning electron microscope, and micro-Raman spectrometer to investigate the influence of marine organisms on the degradation of the ceramic ware. Long-term abrasion by sea wave-borne debris led to the increased surface roughness and wettability of the ceramic ware, facilitating the attachment of marine organisms. Differences in surface roughness between the inner and outer walls led to varying levels of biomass. Coralline algae secreted inducers to attract the larvae of macrofoulers. The attachment of different types of marine organisms had varying effects on the degradation of the ceramic ware. Firmly attached unitary organisms could alleviate the scouring of sea wave-borne debris and hinder the intrusion of foreign pollutants, thereby playing a 'bio-protective' role. In contrast, the group skeletons of modular organisms could reinforce the mechanically damaged surface but failed to block the intrusion of iron rust and other pollutants, resulting in chemical alterations of the glaze. Therefore, the specific species of the attached marine organisms should be considered in subsequent conservation efforts. [ABSTRACT FROM AUTHOR]

Traditionally, "ancient villages" are communities that date back to a previous era, possess abundant traditional resources, and hold significant historical, social, cultural, ecological, and economic significance. This study examines the geographical and chronological development of 2957 traditional communities in the Yangtze River Basin and extensively employs GIS spatial analysis, geostatistical analysis, and historical literature review to study the evolution of the locations of traditional settlements under various factors. The study's findings revealed that: (1) From a geographical standpoint, the traditional villages in the study area present a distribution state of "two cores, small aggregation, and many dispersions". The two core clusters are located at the intersection of Hunan, Guizhou, and Chongqing provinces, where the natural geographical advantages attracted people from different dynasties to settle here. (2) From a temporal perspective, the quantity of traditional villages shows a growing trend, and the distribution center of each dynasty shows an east–west direction. Among them, the shift from the Song to the Yuan dynasties marked the period of greatest change in village distribution, which originated from the Song Dynasty's quick economic growth. In addition, the village distribution was clustered in the eastern part of the country, adapting to the needs of commercial trade. When the Song Dynasty fell, the society was in turmoil, and the villages were transferred to the central region to avoid the war. The Yuan Dynasty also laid down the fundamental distribution pattern of conventional villages. (3) From the standpoint of choosing a village location, most of them are distributed in mountainous, hilly, and plain regions; the gentle slopes of 0°~15° are favored by people. Sufficient water sources, abundant precipitation, and a suitable climate are also necessary choices. (4) From the perspective of driving factors, traditional village distribution in the basin is impacted by historical, cultural, social, and ecological factors. Included among these, traditional village distribution is inversely connected with socio-economic variables. Under the interaction of two factors, the distribution will be more affected. To summarize, the complex human geographic factors together create the conventional village dispersal pattern, and examining these elements holds substantial practical importance for comprehending, safeguarding, and preserving traditional villages. [ABSTRACT FROM AUTHOR]

Tibetan Buddhist monasteries constitute significant cultural heritages of ethnic minorities, evolving into the Principal-Subordinate Monastery System (PSMS) with profound historical and cultural significance. This system exhibits an integrated hierarchical structure in terms of religious dominance, political administration, and cultural diffusion. Existing research primarily focuses on internal humanistic factors such as governance patterns, while there is not any research focused on its patterns and manifestations in spatial distribution. This study aims to elucidate the spatial distribution characteristics of the PSMS in Hehuang region, including the Tibetan Buddhist monasteries from all sects in the Hehuang region since the Song Dynasty It establishes a hierarchical PSMS database based on the affiliation relationships, aimed at storing spatial and property information related to PSMS. The database standardizes the naming and coding of monasteries, and classifies them through hierarchical relationships to ensure data consistency and usability. Finally, the classified and coded monastery data were analyzed by GIS tools to form the PSMS spatial distribution characterisation framework. Results reveal that (1) Monasteries demonstrate notable spatial clustering patterns from both holistic and sectarian perspectives, with density being influenced by the principal monastery's position. (2) Almost every PSMS exhibits a spatial pattern centered around the principal monastery, with subordinate monasteries clustering within a defined range correlated with the administrative region of the principal monastery. (3) PSMS scale variations are controlled by principal monasteries, exhibiting positive correlations in hierarchical structure, control quantity, and distribution range. (4) The spatial orientation of PSMS correlates with river distribution, while the relationships among mountain ranges require further investigation. These findings provide initial insights into the spatial distribution characteristics of PSMS, confirming the spatial influence of the principal monastery. Besides, this study established an innovative spatial research framework for heritage clusters with multiple types and hierarchies. Thus, this study offers new insights into the spatial distribution of Tibetan Buddhist monastery heritage and presents a framework for further examining the spatial distribution of the Tibetan Buddhist monastery heritage in other regions, as well as other heritage clusters where connected and clustered through religious and cultural ties. [ABSTRACT FROM AUTHOR]

Three-dimensional (3-D) stereo images can be generated via computer-based image processing of CORONA stereo pairs. To a certain extent, important terrain and surface feature data extracted from these stereo images can improve the survey of archaeological sites and the identification and mapping of major landscapes. In this study, we focused on the identification of the archaeological ruins of Liangzhu City. An optical stereo model (red/blue stereo image) of the Liangzhu site was created through computer-based mosaicking and processing of CORONA remote-sensing stereo pairs taken in the 1960s and 1970s. By importing the optical stereo model into mobile phones, tablet computers, and other mobile devices, the research team undertook real-time locating of ruins via human observation, on-site investigation, and image overlay during a field survey and identified several Liangzhu-period dams, some of which have been confirmed via archaeological field investigations. The research team later applied the same method to the identification of tombs at the site of the mausoleums of the six emperors of the Southern Song dynasty. The results further prove that this method is feasible and reliable and can be widely promoted and used for the identification of archaeological ruins. [ABSTRACT FROM AUTHOR]

This article analyzes the geographical distribution of poets in Song China based on Complete Song Poetry (Quansongshi全宋詩), which includes poems from over 9000 poets, with 6056 of them having clear native place. Visualization strategy is used to present the geographical distribution of these 6056 poets, and its formation factors are also analyzed. The results reveal that majority of the poets come from Zhejiang, Henan and Sichuan provinces, with Guangdong province also exceeding a hundred poets despite its remote location. In the central area of Ningbo, Luoyang and Meishan, there are also large distribution of the poets. Over time, the density of poets in the south increases while it decreases in the north, and this pattern becomes more pronounced as time progresses. By employing visualization strategy, we aim to provide a more comprehensive understanding of the geographical distribution of poets of Complete Song Poetry in Song Dynasty to reflect the cultural, economic, and political development of Song China. [ABSTRACT FROM AUTHOR]

Glutinous rice mortar is a traditional lime-based building material which was first used in China during the Southern Song Dynasty (1127-1279 CE) according to ancient Chinese documents. The Tieguai Tomb, dating back to the late Northern Song Dynasty (960-1127 CE) in Nanling, Southern China, was built by using mortar for its tomb chamber, making it the earliest mortar tomb found in China to date. In this study, X-ray fluorescence spectroscopy (XRF), X-ray diffraction (XRD), thin-section petrography, Fourier transform infrared spectroscopy (FTIR), and starch grain analyses were conducted to comprehensively investigate the manufacturing techniques of the mortar from the Tieguai tomb. The results show that the mortar is a type of organic–inorganic mixed material made of glutinous rice pulp, lime, clay, and fine sand. This finding indicates that glutinous rice mortar had already been used as a building material as early as the late Northern Song Dynasty, which is the earliest use record for this material in China. This study also provides direct scientific evidence for exploring the origin of glutinous rice mortar and is of great importance for reconstructing the history of Chinese traditional building materials and architectural techniques. [ABSTRACT FROM AUTHOR]

The Daitokuji Old Collection's 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka's creation of 84,000 stupas. These paintings include "Building a Stupa" (No.78), "King Aśoka Stupa Emitting Light" (No.79), "Precious Stupa on the Rock" (No.80), and "Miracle of Light-Emitting Relics" (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and "Luohans Watching the Relics' Light" (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the "King Aśoka Stupa" 阿育王塔 and "Relics' Light" 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection's 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng's version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa's background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the "King Aśoka Stupa" and "Relics' Light" in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. [ABSTRACT FROM AUTHOR]

Runoff gullies are among the most typical and common disorders in rammed earthen sites. However, only a few studies have effectively elucidated their developmental characteristics, influencing factors, and evolutionary mechanisms. Here, employing 15 sites in three climatic areas and five dynasties as the research objects and based on the investigation and statistics of runoff gullies, standard grading of gully erosions in single sites, classification of the ages of the gullies, and test for the refined disintegration processes of rammed earth using the H-FRA and AHP-EWM-TOPSIS methods, a preliminary study on the temporal and spatial characteristics of the development, as well as influencing factors of gullies, was conducted. The results indicated that the age development of the gullies in the 15 sites proceeded via alternating surface and bottom erosions and that the gullies were mainly at their early and mature stages at this time. The comprehensive degrees of gully erosion exhibited the following temporal and spatial patterns: semi-arid > extreme-arid > arid area and Ming > Han > Qing > Tang > Song Dynasties. Further, the AHP-EWM-TOPSIS model with the disintegration index positively affected the temporal and spatial variations of the comprehensive development degrees of gullies, with up to 93.33% accuracy. HIGHLIGHT: The temporal and spatial characteristics of runoff-gully development in rammed earthen sites are revealed. The runoff-gully was classified according to the age development order, and the comprehensive development degree of gully was proposed as a new index. The disintegration process tests were refined and the indexes of disintegration characteristics at different stages were obtained. AHP-EWM-TOPSIS comprehensive evaluation method was used to analyze the influence factors of the runoff-gully. [ABSTRACT FROM AUTHOR]

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Older to increase the creativity clothing product design, the combination of traditional Chinese aesthetics and philosophy of green landscape color matching has been applied to modern clothing design. Based on the improved K-means algorithm, this paper extracted the color features of A Thousand Li of Rivers and Mountains by Wang Ximeng, a court painter of Song dynasty. At the same time, according to the color network model and HSV mapping model, the color feature analysis and collocation design were completed. The optimal color scheme was obtained by fuzzy comprehensive evaluation method, and CL03D was used for virtual simulation and demonstration of clothing. The results show that when the value determined by the clustering number of gray histogram and the clustering of Mahalanobis distance is 8, it can represent the color characteristics of the painting, and has a good design application effect. In this way, the intelligent extraction of colors in traditional painting can be realized, and traditional painting can be empowered the innovative application of color painting in fashion design. [ABSTRACT FROM AUTHOR]

This paper explores the life and works of Su Shi, a prominent intellectual and statesman during China's Song Dynasty, as a champion of interreligious harmony. We examine how Su Shi's vast philosophical and literary output demonstrates his deep engagement with Confucian ethics, Buddhist compassion, and Daoist tranquility. By analyzing his poems, essays, and other writings, we explore how Su Shi navigated these diverse traditions, finding common ground and promoting mutual understanding. This analysis highlights Su Shi's ability to bridge religious and philosophical divides, offering a valuable perspective for contemporary discussions on interfaith dialogue and peaceful coexistence. [ABSTRACT FROM AUTHOR]

Copyright of China Forest Products Industry is the property of China Forest Products Industry Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As an imported product, betel nut has played an important role in diet, medicine, taxation with a rich history and culture. Through literature review, it was found that during the Han and Three Kingdoms periods, betel nut was recorded as a "rare plant" in various Records of Exotic Items and was accepted gradually. During the Northern and Southern Dynasties, betel nut was a "luxury item" for aristocratic officials. In the Tang Dynasty, it was influenced by the Buddhist concept of equality and began to spread to the public and in the Song Dynasty, it gradually became an "ordinary item" for the common people. The reasons for betel nut being accepted and spread, and being used in wedding customs in Hainan, not only lies in its material culture itself, but also its significant role in important social etiquettes and literati's enthusiastic endorsement of betel nut with gentlemanly virtues and spir鄄 itual cultural significance. [ABSTRACT FROM AUTHOR]

A common type of utensils unearthed from Tang and Song Dynasty sites in Sichuan-Chongqing region (with a few found in tombs), closely resembling bowls and cups, but densely covered with jagged grinding surfaces or engraved with fine and dense shallow lines or grate scratches, is referred to as the grinders. The usage of the grinders is still inconclusive, and this paper, by exploring the usage of the grinders through archaeological materials and relevant literature, believes that the grinders are mainly used for grinding tea cakes and grinding ginger and garlic condiments. [ABSTRACT FROM AUTHOR]

By systematically combing the historical changes of Tongji Weir in Sichuan, this paper aims to explore the cultural heritage value contained in this project, and proposes a scheme on its protection, inheritance, and revitalization utilization. Tongji Weir was initially built in the middle and late Western Han Dynasty. It reached the peak of governance during the Tang and Song Dynasties, especially the Southern Song Dynasty. It flourished again after the Qing Dynasty. In the development process over two thousand years, the history of Tongji Weir Project has become an important component of regional history, giving birth to a group of influential literary works around the project, and the advanced technological value it contains is also unique. It demonstrates the superb water management wisdom of ancient Chinese irrigation engineering, providing historical experience and inspiration for sustainable irrigation development. [ABSTRACT FROM AUTHOR]

Through the dual keywords--wenfang 文房 and "four friends" (siyou 四友)--this essay examines the inextricable interrelationship among material things, a place, and the self that was initiated during the Song dynasty (960-1279). Song literati displayed unprecedented interest in scholarly things, particularly four specific things in the studio--the writing brush, inkstone, paper, and ink. Through literary representations, this article investigates the changing nature of the literati's relation to these "four things" in the studio. Rather than framing their bond as the ruler and ministers or the owner and his possessions, from the early Northern Song to the Southern Song, writers transformed their relationship to these four things gradually to that between friends and peers, or from pure ownership to an imaginary friendship, and in turn, these four things supported the construction of both the personal studio and the collective identity of the new elites in the Song. This transformation from "four things" or "four treasures" to "four friends" represented a distinctive model of the observation and conception of material things that Song scholars developed, which provided intriguing insights into the relationship between humans and things in premodern China. [ABSTRACT FROM AUTHOR]

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Psychological Science is the property of Psychological Science Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mo You-Zhi （莫友芝） used the Mongolian Zhong Tong Ben （中統本） and the Dian Ben （殿本） of Shi Ji （史記） to proofread the thirty volumes of the Ji Gu Ge Ben Shi Ji Suo Yin （汲古閣本史記索 隱） in his collection at the end of the Ming Dynasty, which were published in imitation of the Song dynasty. Mo's proofreading was conducted in the context of the creation of the Jinling Publishing House （金陵官書局） to publish the classic and historical texts, and is of some significance to the understanding of the proofreading of Shi Ji in the late Qing Dynasty. Through the verification of the proofs, the differences between the Mao Ben Suo Yin （毛本索隱） and the He Ke Ben Suo Yin （合刻 本索隱） are more obvious in the proofs. In addition to the errors in the individual entries, most of the entries can correct the errors in the Mao Ben, and some entries can supplement the shortcomings of the revised version of Shi Ji by the Beijing Zhonghua Book Company （北京中華書局）. At the same time, the complexity of the source of Mao Ben Suo Yin is explored with reference to the Zhong Tong Ben, and its complexity is explained as a result of reverse proof-reading （逆向校勘）. [ABSTRACT FROM AUTHOR]

In the early Qing dynasty, there was a Southern Song dynasty woodblock-printed edition of Du Gong Bu ji （杜工部集）, which was composed of reprinted editions of Er Wang Ben （二王本） and Wu Ruo Ben （吳若本）. Later, the book became incomplete. Four handwritten copies of the book have survived to this day. Among them, Mao Jin Ben （毛晉本） in Seikado Bunko of Japan （日本靜嘉堂文 庫）, which is the ancestor of the extant handwritten copies, is the closest to the Song dynasty edition. Mao Yi pointed out that Mao Jin Ben was an apograph. But the Mao Jin Ben is just an ordinary manuscript. Shanghai Library of Mao Yi Ben （毛扆本） was added based on remaining part of original books of the Song dynasty. The supplementary content is based on Mao Jin Ben. In the process of copying, Mao Yi collated Mao Jin Ben based on Qian Zhu Du Shi （錢注杜詩）, which led to the loss of Mao Yi Ben and even the original appearance of the Song dynasty edition. The Qian Zeng Ben （ 錢曾本） of the National Library of China and the handwritten copies of the National Central Library were instead part of the Mao Jin transcription system. Compared with the Mao Jin Ben, the extra part of Qian Zeng Ben comes from "Qian Zhu Du Shi.". [ABSTRACT FROM AUTHOR]

The Supreme Deity Talismans of XuHuo, as the mysterious visual artforms in Daoism, are significant ritual images created by Daoists during the Song and Yuan dynasties. This article explores the creation process of the SDTXH by applying psychoanalytic theory to analyze the literature related to their drawings in Daozang. The ritualistic concentration involved in writing the SDTXH resembles Jung's systematic exercises aimed at eliminating critical attention, thus creating a vacuum in conscious. This vacuum serves as the key premise for active imagination, through which the unconscious is integrated into the conscious. Fuqiao, in fact, is a symbol dynamically depicting the process of the unconscious being inseminated by the conscious through immersion within it. This integration, or unity, represents the embodiment of concepts such as "mandala", Guizhong, and Taiji. The SDTXH originate from Guizhong and essentially serve as archetypal images, similar to the sandplay images constructed by the clients. As the language of the unconscious, the SDTXH effectively bridge the conscious and unconscious, enabling the unconscious content, namely the archetype, to be symbolically expressed and bringing order to the creator through active imagination. The emergence of the SDTXH signifies the practitioner's progress towards achieving psychic wholeness. [ABSTRACT FROM AUTHOR]

Belief in the Thunder God has been important in China since ancient times. During the Tang Dynasty (618–906), the Thunder God was personified and incorporated into official rituals. Due to the increasing presence of Tantric Buddhism in China during the Tang Dynasty, in Daoism (particularly the Divine Empyrean lineage 神霄派), several Thunder Gods formed a military organization, among which Deng Bowen (鄧伯溫) was considered as a marshal who largely preserved the characteristics of the Thunder God from the Tang Dynasty, featuring traits of a half-human and half-bird. This study focuses on interreligious influences and aims to elucidate the logic that informs the evolution of the Chinese Thunder God's image through Deng Bowen's case. Through the analyses of iconography and text analysis, this study discusses how Deng's image was blended with the image of the Hindu deity Garuda (迦樓羅), which was introduced to China during the Tang Dynasty through Tantric Buddhism. This study will also explore how Deng's image evolved from before the Tang Dynasty to the period after the Song Dynasty and will indicate that the Tang Dynasty was a significant period for the development of Thunder God worship as well as its iconography. [ABSTRACT FROM AUTHOR]

Non-destructive analysis of the composition and structure of various ancient Chinese currencies, including two Ming-style knife money from the Zhou Dynasty and nineteen square-holed coins from the Tang and Northern Song Dynasties are presented. The knife money are estimated to have been minted around 360 to 255 B.C., while the nineteen square-holed coins are estimated to have been minted between 621 and 1117 A.D. All currency, except for the bent knife money, was analyzed non-destructively using synchrotron radiation X-ray diffraction and scanning electron microscopy with focused ion beam and energy dispersive spectroscopy to determine their structure (phases present), microstructure, and elemental distribution. The currency was generally found to be composed of primarily a CuSn alloy with small amounts of Pb and Fe and trace amounts of other elements and oxides. The main phase present in all coins examined using synchrotron radiation X-ray diffraction is an FCC CuSn alloy along with FCC reflections from the traces of Pb. The immiscible Pb within these Cu-based alloys was found to be distributed as small globules or islands ranging between 10 and 80 μm and scattered throughout the Cu-based matrix. Scanning electron microscopy with energy dispersive spectroscopy provided some microstructural and elemental distribution information, but analysis was made difficult due to corrosion/oxidation at the surface which cannot be removed non-destructively. Synchrotron radiation X-ray diffraction was much more helpful in providing crystallographic orientation and phases as it could be used to measure the bulk material of the samples past the relatively thinly oxidized surface. While authenticity of the currency is difficult to determine, the presence of Pb is a good indicator as it is not commonly used in modern CuSn alloys. [ABSTRACT FROM AUTHOR]

The archaeological evidence from the Nanhai No.1 shipwreck provides tangible evidence for the study of maritime trade during the Song Dynasty, revealing the presence of a significant amount of smuggled metal in the cargo, suggesting possible involvement in smuggling activities. Merchants may have used tactics such as under-reporting and clandestine transportation of prohibited items to evade supervision, thus engaging in the illicit trade of metal materials and artifacts banned by the Song government on the international market. Valuations of the goods recovered from Nanhai No.1 indicate that the value of iron and silver exceeds that of porcelain, while the value of gold objects and currency exceeds that of porcelain by one-third. Research also suggests a possible shift in the model of maritime trade during the Song Dynasty, from government-led to merchant-led, with a gradual weakening of government supervision and control over trade. This change may be related to reforms in trade organization and the government leniency toward prohibited activities. Despite repeated government bans, smuggling of metal goods continued throughout the Song Dynasty, with no significant reduction in the scale of the metal trade due to the profit-seeking behavior of private merchants, highlighting the inadequacy of government control over illegal smuggling activities. This complex interplay between economic gain, national security, private interests and government control had profound implications for China, the broader South China Sea region and beyond, while the outflow of metal artifacts also facilitated the exchange of goods, technology and culture between China and the aforementioned regions. [ABSTRACT FROM AUTHOR]

The key point in studying or teaching the history of Chinese medicine is on the doctrines underlying it and on its perception of the body, physiology, pathology, and its treatment. Namely, there is often a tendency to focus on reading and analysing the classical canons and therapy-related texts including formularies and materia medica collections. However, focusing on these sources provides us with a one-sided presentation of Chinese medicine. These primary sources lack the clinical down-toearth know-how that encompasses medical treatment, which are represented, for instance, in the clinical rounds of modern medical schools. Our traditional focus on the medical canons and formularies provides almost no clinical knowledge, leaving us with a one-sided narrative that ignores how medicine and healing are actually practiced in the field. This paper focuses on the latter aspect of medicine from a historical perspective. Using written and visual sources dating to the Song dynasty, clinical encounters between doctors and patients including their families are depicted based on case records recorded by a physician, members of the patient's family, and bystanders. This array of case records or case stories will enable us to narrate the interaction between physicians and patients both from the clinical perspective and from the social interaction. This paper will also discuss visual depictions of the medical encounter to provide another perspective for narrating medicine during the Song dynasty. Medical case records and paintings depicting medical encounters are exemplary of the potential of Chinese primary sources for narrative medicine. [ABSTRACT FROM AUTHOR]

Yaozhou Kiln is a famous ancient center for celadon production in China, located in present-day Shaanxi Province. While analyzing its olive-green celadon produced during the Song Dynasty, a common occurrence of brownish base (foot and bottom) was observed. This phenomenon can also be found in porcelain produced at other kilns in China and Vietnam. However, previous research has not systematically explored the coloration mechanism behind it. Through different analytical methods, coupled with reproduction firing experiments, this paper concludes that the brownish base is attributed to the diffusion of iron from the body and sand cushion into the thinly applied glaze on the base, as well as the crystallization formed by the combination of the sand cushion and the surface glaze. Factors influencing the depth of the brownish color include: (1) the iron content of the body; (2) the thickness of the base glaze; and (3) the sand cushion material. [ABSTRACT FROM AUTHOR]

The persimmon-red glazed wares, characterized by a reddish-brown appearance with high gloss, were one of the main varieties of glazes manufactured in Jian kilns (Fujian province, China) during the Song Dynasty. Densely packed dendritic ε-Fe 2 O 3 crystals in microns size composed of several branches were observed in the glazes surfaces of Jian persimmon-red wares. The branches, consisting of well-arranged rod-like crystals with offset around 110 or 220 nm, could serve as sub-micron mirrors to improve the glaze gloss. A number of Al and few Ti and Mn ions were detected to substitute Fe ions in ε-Fe 2 O 3 crystals. The Al substitution could play a dual role in ε-Fe 2 O 3 structure: (1) stabilizes the structure through increasing of cationic disorder and (2) makes the appearance less dark, which could account for the nice persimmon-red appearance of Jian wares. Besides, zircon, quartz, hematite, jacobsite and mullite were also observed in the glaze surfaces. • Dendritic ε-Fe 2 O 3 crystals in microns size composed of several branches were observed in the glazes surfaces of Jian persimmon-red wares. • The branches consisting of well-arranged rod-like crystals with offset ~110 or 220 nm could serve as sub-micron mirrors to improve glaze gloss. • Al substitutions in ε-Fe 2 O 3 crystals could play a dual role of acting as stabilizers to increase cationic disorder and making appearance less dark. • A few impurity crystals including zircon, quartz, hematite, jacobsite and mullite were detected in the glazes surfaces. [ABSTRACT FROM AUTHOR]

This paper interrogates the skepticism surrounding comparative ethics, particularly the question of its relevance in a world where ethical decision-making processes are primarily presumed to be dictated by one universalist culture. The paper argues that all cultures are inherently intercultural, evidenced by the historical coexistence of ideas and practices. Post-comparative ethics, which emphasizes the situational application of intellectual comparison and integration, is inevitable for postcolonial, non-Western societies. Historically, societies have navigated a variety of ethical frameworks, with some, like medieval Chinese society, embracing a plurality of beliefs. This pluralism is exemplified by the harmonious accommodation (yuanrong 圓融) of Confucianism, Daoism, and Buddhism. Using the example of Song Dynasty Chan master Dahui Zonggao 大慧宗杲, this article illustrates that intercultural ethics can be both diverse and sincere. Dahui's pluralistic approach demonstrates that sincere commitment to multiple ethical systems is possible in our multicultural situation. I will discuss common approaches to the multicultural situation, such as expedient synthesis, theoretical synthesis, and crude syncretism, before illustrating the advantage of Dahui's kanhua 看話禪method as harmonious accommodation through confrontation. This underscores the importance of shifting the debate from "Why compare?" to "How to compare?" in achieving the accommodation of different ethical frameworks. [ABSTRACT FROM AUTHOR]

The Jiujing Tang Fu written by Hu Ganhua in the Northern Song Dynasty describes the repair of the Jiujingtang by Li Kang, the governor of Mingzhou, in the third year of Yuanyou. However, this piece of Fu was not included in the Quan Song Wen (全宋文), which made its literature value not be well known. According to the full text of Jiujing Tang Fu in the local records of Qiandao Siming Tujing (乾道四明图经) of the Song Dynasty, the author of this paper makes a textual research on the author, writing time and creation background of the Fu. and discusses the influence of Jiujing Tang on the collection of books in Mingzhou. [ABSTRACT FROM AUTHOR]

The goddess of Gaotang in Song Yu's Goddess Fu is gorgeous and brilliant. In 1943, Xie Zhiliu, a famous painter, drew the Goddess of Gaotang according to Song Yu's Goddess Fu. Xie Zhiliu directly followed the examples of the figure paintings of Tang and Song Dynasties, especially the Dunhuang flying murals. By vigorous, vivid lines and round, thick brushwork, Xie Zhiliu shaped an elegant image of the goddess of Gaotang. With the style of remote antiquity, this painting fully reflects Xie Zhiliu's superb figure painting ability. Though these two pieces of works are different in art category, both of them are colorful and wonderful. They add radiance and beauty to each other. [ABSTRACT FROM AUTHOR]

The qin a seven-stringed plucked musical instrument, occupies a unique status in Chinese cultural history . By the time it was established as the musical embodiment of classical tradition and literati culture in the Song dynasty, it had become an exchangeable commodity . While literary writings composed before the Song rarely focused on its monetary value, the unprecedentedly vibrant commercial world recast the qin, hitherto an aristocratic or scholarly pursuit, as a commodity that affected the life of the literati . This article examines how the literati worked through the conflicting values brought by the commodification of the qin to create and reinterpret its new meaning as an object with both cultural and monetary value . The commercial mechanism that the literati took part in also brought about changing characterizations in the connoisseurship of the qin . The astute perception of sound was no longer the sole criterion for appraisal, which now included familiarity with the qin's physicality and knowledge of its craftsmanship . Behind the ostensible monopoly of the literati discourse on the qin, there was an economic and social network in which different groups participated--groups that together defined the cultural and commercial values of the qin . [ABSTRACT FROM AUTHOR]

The Song-era artifacts carry ideas of naturalness and moderate elegance, preserving and passing them on to future generations. The emerging digital opportunities and initiatives allow us not only to study pattern samples in detail but also to create digital equivalents that are not subject to aging or destruction. This research aims to obtain specific knowledge and situational experience regarding the digitization of Song Dynasty patterns. At the preliminary research stage, the authors performed an online survey on a popular Chinese platform. The survey confirmed the interest of a wide audience in cultural heritage (CH) objects and their preservation. The respondents noted the focus on digital sources of information and considered the documentary video format an optimal educational design. In the first stage, Song patterns were digitally processed using MATLAB version 7.0 and ACDSee. In the subsequent phase, based on the processed patterns, the authors developed an instructional video. In the third stage, the researchers assessed students' knowledge acquired by watching a video (experimental group) or attending a lecture with a presentation based on raw patterns (control group). The results obtained before and after the intervention showed significant progress in each group. It indicated the effectiveness of the digitized images and this intervention for obtaining new knowledge and raising awareness about the Song Dynasty CH. [ABSTRACT FROM AUTHOR]

In the Changxi River Basin in eastern Fujian, a few stone elements remain and Buddhist buildings with one bay in width and three bays in depth have been preserved dating from the timespan of the Tang to the Song dynasty. These features are characterized by a regional form of early Buddhist architecture seldom seen in Chinese history. The article focuses on the reconstruction of a Song dynasty Buddhist building at the Gonghoulou Temple site in Huotong Town, Jiaocheng District, Ningde City, and aims to analyze the potential characteristics and rules of single-bay Buddhist architecture. From the styles of the remaining stone columns, the direction of the lotus carving at the column base, and the mortises of the plinth stone, a spatial arrangement is indicated that includes an open front corridor and a closed rear section. A "reconstruction" of the ruler used in the original building reveals the possibility that a local Fujian ruler was used, shorter than the standard measurement device employed elsewhere. The analysis of the frame construction indicates that this hip-gable roof-covered Buddhist hall utilizes the horizontally layered logic of multi-storied palatial-style halls. Key elements include its gentle roof slope, restraint from the practice of shortening the roof ridge, use of the traditional chuji method, and the interior columns use of internal longitudinal architraves secured to beam supporting brackets. This research brings to light a unique architectural type that has disappeared in the course of history and was previously unknown to the academic community. It holds significant importance and value for deepening the understanding of the history of timber frame architecture technology in Fujian. [ABSTRACT FROM AUTHOR]

The centrality of the territorial principalities and imperial diet is a defining feature of the historiography of the late medieval Holy Roman Empire. This tendency risks restricting discussions of the Reich's political life to the arena of high politics and obscuring important links and relationships between the imperial monarchy and its non-princely subjects. This article sets out to examine interactions between the late medieval imperial government and its subjects in the localities. The analysis focuses on the court and government of Emperor Friedrich III of Habsburg (r. 1440–1493), whose 'peripheral kingship' has been interpreted by historians as the moment of the crown's definitive alienation from the Empire's core lands. The article presents two case studies of protracted legal disputes in which communities of different size, importance and location came into the orbit of the emperor's court seeking to protect their rights and interests. These case studies provide illustrative examples of how routine matters and local conflicts could be inextricably bound up in the structures of the emperor's government. This evidence suggests that a complete account of the political and governmental history of the late medieval Holy Roman Empire needs to incorporate both new insights about the effectiveness of the imperial monarchy and the complex, multi-layered and interdependent nature of local politics. [ABSTRACT FROM AUTHOR]

Pagodas and pavilions (ge 閣) are the most popular and representative multi-story buildings since Buddhism was introduced to China. While providing visitors with a new visual experience, they have also largely reshaped the urban space and skyline in medieval China. The former originated from India and Central Asia and was transformed in China, developing a unique style; The latter originated more from the creation of Chinese architects and became a model of typical Chinese-style Buddhist architecture. Briefly, the pagoda matured earlier than the pavilion, and continuously developed while maintaining its basic style; the pavilion-style Buddhist architecture gradually developed later and finally matured after the Tang and Song dynasties (618–1276), partially presenting a different spatial logic from the pagoda, and bringing a new visual experience. In my opinion, although the pavilion may not necessarily be as large as the pagoda in terms of volume and absolute height, it can provide believers with greater visual impact in the internal space for worship, due to the cross-story giant Buddhist statues; the closer integration of Buddha statues and architecture makes it replace or share the core position of the pagoda in some monasteries and even become the visual center of the entire religious space. Due to the existence of the pavilion, viewers can not only worship the Buddhist statues on a two-dimensional plane or by looking up at the statues from the bottom, but have also gained a three-dimensional perspective, to worship directly at the Buddha's shoulders, neck, and head. In the Buddhist grottoes, the layout of the early single-layer or multi-layer horizontally distribution of caves on cliff was also changed due to the excavation of the cross-layer giant statue grottoes, covered by multi-story pavilion-style buildings, providing viewers with a visual experience similar to that of the pavilions of great statues. Additionally, there is a new visual experience of worshiping the Buddha in a vertical circle, in cases such as Bamiyan and the Leshan Giant Buddha. [ABSTRACT FROM AUTHOR]

The "Zhenshan" 鎮山 (which means a mountain that guards a certain territory) system is based on the traditional Chinese view of nature, which formed and developed through a long period of Confucian humanistic construction. It is the typical representation of China's nature-oriented worship space, and it has unique spatial order and spatial significance in the world's sacred mountain worship. The excavation of the spatial characteristics of Zhenshan worship and its network of humanistic meanings is an important part of research that aims to discover the traditional Chinese values of nature, religious views, and Chinese worship space. Based on the analysis of graphic historical materials and a digital chronicle literature review, this paper quantitatively analyzes the historical information of Zhenshan and summarizes the process of change from the birth of the concept of Zhenshan in the Zhou dynasty to the formation of the sacrificial system in the Han dynasty and its gradual localization after the Tang and Song dynasties with an analysis of its spatial pattern and characteristics of worship. The results show that Zhenshan is one of the typical cultural symbols of the transformation of Chinese mountain worship into the unity of government and religion. And it is a typical product of Confucianism, in which the worship of nature in China is integrated into the political system, and its worship space is rooted in the national, regional, and urban spaces at multiple levels. The Zhenshan system, in the course of its dynamic development, has formed two types of worship space: temple sacrificial and metaphorical constraint, constructing a Chinese worship space based on the order of nature, which is distinctly different from the inward-looking religious space of the West and the sacred mountain worship space formed around the religion of the "supreme god". [ABSTRACT FROM AUTHOR]

This study presents a comprehensive archaeometallurgical analysis of 21 bronze rings recovered from the Nanhai No. I shipwreck, a remarkable historical site dating back to the Southern Song Dynasty (1127–1279 AD). The shipwreck, located in the South China Sea, has provided a unique window into the trade and contraband activities of the time. Through a meticulous examination of their composition, microstructure, trace elements, and lead isotopes by SEM, metallography, MC-ICP-MS, and ICP-AES, we unveil the manufacturing techniques, material origins, and the latent details within these seemingly ordinary artifacts. These bronze rings share high-lead content with other Song Dynasty bronzes. They are classified into three groups based on their copper and lead composition, with one group aligning with historical records, hinting at pre-prepared complex alloys designed for specific purposes. The stability of trace elements and lead isotopes in the rings indicates Guangdong region as the most probable source of the raw materials. These findings lead to the speculation that Nanhai No. I may have docked at a Guangdong port to replenish its cargo, including contraband goods such as bronze rings, before departing the Song Dynasty's territory with minimal scrutiny. In summary, this research enhances our understanding of ancient trade and smuggling practices and showcases archaeometallurgy's potential in unveiling the untold stories behind historical artifacts. [ABSTRACT FROM AUTHOR]

Assessment of the spatial distribution and accessibility of traditional villages is closely related to their development. However, the impacts of spatial heterogeneity on the accessibility of traditional villages remain largely unknown. A total of 644 national-level traditional villages in the Jiangnan region were used to explore the spatial heterogeneity impact with a geographically weighted regression (GWR) model. We found: (1) spatially, the villages exhibit a predominant aggregation distribution pattern with significant local spatial disparities (R < 1, p < 0.01), predominantly originating from the Song and Ming dynasties (59.21%). Their clustering shifts from northeast to southwest, with over 70% of the villages located on slopes ranging from 0° to 20° and within 1 km of water. (2) The accessibility of these villages is generally low, with 85.66% being accessible within 200 ~ 300 min; it decreases concentrically outwards from Changzhou and exhibits clustering autocorrelation characteristics (Moran's I > 0, Z > 2.58). (3) Road network density, elevation, and slope are significantly correlated with accessibility (p < 0.05), demonstrating pronounced spatial heterogeneity in their effects, with these factors collectively explaining approximately 85% of the accessibility levels. These findings provide a basis for comprehensive planning and categorized strategies for traditional villages. [ABSTRACT FROM AUTHOR]

Through a meticulous analysis of ancient Chinese literature, this study comprehensively documents the geographical distribution of Fuling, a traditional Chinese medicinal material, during the Tang, Song, Ming, and Qing dynasties spanning from the seventh to the twentieth century in China. Based on the contemporary distribution information of Fuling, we utilized the maximum entropy (MaxEnt) model to simulate the suitable distribution areas of Fuling under both present-day conditions and in the future (2081~2100). The findings reveal that climate change has influenced the distribution of Fuling production areas. The shifts in Fuling's origin during different periods in ancient and modern times align with climate fluctuations and concurrent societal development. During the Tang and Song dynasties, Fuling primarily originated in northern China. However, it migrated southward during the Little Ice Age (LIA) and has recently shown a slight northward shift, in line with the climate fluctuations of the LIA and contemporary global warming trends. This study offers a comprehensive analysis of the changes in the distribution and production areas of Fuling over a 1500-year period, encompassing ancient, modern, and future periods. The results provide critical insights for adjusting Fuling cultivation areas in response to climate change and for further exploration of the mechanisms through which climate impacts the growth of Fuling. [ABSTRACT FROM AUTHOR]

Longjing Monastery served as a prominent Buddhist center in Hangzhou during the Northern Song Dynasty. Similar to other esteemed Buddhist monasteries and mountains in China, the monastery's initial prestige owed in part to its mystical associations with the Daoist recluse, Ge Hong. However, to secure sustained acclaim, adept leadership was crucial. Thus, this study delves into the monastery's popularity during the Northern Song era, highlighting how the legendary abbot Biancai established both a robust personal reputation and monastic success by "making friends in the outside secular world." [ABSTRACT FROM AUTHOR]

The Cao'an (草庵), situated in the Fujian Province of China, stands as a rare Manichean relic that has long attracted scholarly interest. In the Sunei (苏内) village where the Cao'an is located, there are numerous texts, narratives, and religious practices related to Manichaeism which are often cited as evidence of local Manichaean activities since the Song and Yuan Dynasties. However, drawing from anthropological fieldwork, this paper points out that the local villagers have a more complex and seemingly contradictory attitude towards Manichaeism. On the one hand, they are enthusiastic about worshipping "Moni guangfo" (Mani the Buddha of Light, 摩尼光佛) and collecting narratives of their Manichaean ancestors. On the other hand, they resist the local government's attempts to strengthen the "Manichaean" characteristics of Cao'an and related village temples. Their familial ethics provides a critical and coherent perspective. The villagers have gradually accumulated a wealth of Manichaean-related texts and narratives to demonstrate the moral virtues of their ancestors. Their beliefs and rituals concerning Mani the Buddha of Light are also grounded in traditional familial ethics. This helps us grasp the reality of Manichaeism-related culture in contemporary China. [ABSTRACT FROM AUTHOR]

This study investigates the cultural and political implications of urban landscapes in Song Dynasty China through a case study of Nanjing's greenspace. The increasing urban population and thriving city-centred culture prompted urban greenspaces in Nanjing to assume additional social and cultural functions, contributing to the multi-level and multi-functional development of the city's greenspaces under commercialised and popularised aesthetics and landscaping theories. Meanwhile, under the political principle of 'sharing the pleasures with the public', the imperial court and local officials attached importance to landscaping, using urban gardens as a tool to achieve political and cultural control and social edification. [ABSTRACT FROM AUTHOR]