The early modern history of the Joseon dynasty (1392-1910) in East Asia is often depicted as an era of political conflict between the king, the Hun'gu faction, and the Sarim faction. The four major ...Sahwa (literati purges) reflect its seriousness through which Neo-Confucian scholars were sacrificed by the punishments of execution, exile, or dismissal. The Kimyo Sahwa was the most notorious incident for the Chinese ideology of the Sarim political party. What, then, happened in 1519? What kind of social transformation occurred in relation to the Sungkyunkwan scholars (the national university of the era)? Why did the public office of Daoist Sogyokso become one of the most controversial issues at the Joseon court? How was the royal shrine of Samch'ongjon criticised by the leaders of the Sarim faction? This paper explores the politico-religious landscape of early modern Korea through the key features of Jungjong coup (Royal Coup of 1506), Jo Gwangjo (1482-1520) and 'the Literati Purge of 1519', and argues the critical insight that the Daoist rituals and sacred sites (altars for the sky, stars, and gods) were traditionally maintained in the Popcho philosophy of the royal sovereignty even if the culture of Jongmyo (ancestral altars) and Sajik (altars of soil and grain) were legally implemented at the beginning of the Confucian Joseon. Keywords: Joseon History, Sarim faction, Literati Purge of 1519, Sogyokso, Korean Taoism
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DOBA, IZUM, KILJ, NUK, ODKLJ, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Screen-style frescoes, found in the temples of Gaoping County, Shanxi Province, China, and originating mostly from the Qing Dynasty, present a unique painting form. Folk artists not only painted the ...screen, a common object in everyday life in ancient China, on the wall surfaces, but also created a variety of paintings inside the screen panels, whereby the viewer sees a painting within a painting. This article, based on multiple field trips, aims to analyze screen-style frescoes in terms of their locations, styles, and unique artistic characteristics such as subject matter, color usage, and brushwork. By studying the influence of literati paintings from the Ming and Qing Dynasties, the author also reveals the aesthetic transition from religious scenes to secular life as presented in the temple frescoes in ancient Gaoping County.
This paper aims to critically appraise the incorporation of opium poppy into medical practice in Song-dynasty China. By analysing materia medica and formularies, along with non-medical sources from ...the Song period, this study sheds light on the role of Chinese Buddhist monasteries in the process of incorporation of foreign plants into Chinese medicine. It argues that Buddhist monasteries played a significant role in the evolution of the use of opium poppy in Song dynasty medicine. This is because the consumption practices in Buddhist monasteries inspired substantial changes in the medical application of the flower during the Southern Song dynasty. While, at the beginning of Song dynasty, court scholars incorporated opium poppy into official materia medica in order to treat disorders such as huangdan and xiaoke
, as well as cinnabar poisoning, this study of the later Song medical treatises shows how opium poppy was repurposed to treat symptoms such as diarrhoea, coughing and spasms. Such a shift in the medical use of the poppy occurred after Chinese literati and doctors became acquainted with the role of the flower in the diet and medical practices of Buddhist monks across China. Therefore, the case study of the medical application of opium poppy during the Song dynasty provides us with insights into how the spread of certain practices in Buddhist monasteries might have contributed to the change in both professional medical practices and daily-life healthcare in local communities in that period.
In the early Ming (1368-1644), the founding emperor Zhu Yuanzhang (朱元璋, 1328-1398, r. 1368-1398) established more than twenty princedoms across the empire. Scholarship to date has generally ...emphasized the continuance of the Yuan (1271-1368) institutions into the early Ming. Apart from the endurance of Yuan legacy, this article addresses how Zhu Yuanzhang ideologically framed and justified the establishment of princedoms. By showing the possible influences of Southern Song (1127-1279) statecraft traditions on early Ming legislation, this article argues that Zhu Yuanzhang sought to construct the enduring system of government by drawing on the classic model of "divide and rule," as suggested in the Confucian Classics. In their turn, the literati who advised Zhu Yuanzhang in the making of the Ming empire sought to secure their own realms of autonomy and influence in local society by upholding the fengjian doctrine and presenting themselves as the later counterparts of the ancient feudal vassals who "shared" in the governance of their country and "ruled" on behalf of their emperors.
In this article I propose a critical examination of van Gulik's The Lore of the Chinese Lute (LCL) in respect to its bibliographical sources and consequent aesthetic contentions. Despite being ...arguably the first academic monograph on the ideology of qin and historically a major non-Chinese source for the study of qin in general, the LCL does not represent van Gulik's mature thinking on qin. The LCL is limited by objective circumstances surrounding its writing and flaws in van Gulik's bibliographical engagement. His study of the musicology of Yueji on the basis of inaccurate translation and a neglect of the Neo-Confucian reading of Yueji, his hypothesis of Daoist dominance and Buddhist or Indian influence in the practice of qin with mistaken evidence, his skepticism of the truth of the literati tradition with fundamental bibliographical flaws, all require reconsideration. The current lacuna in the critical investigation of the LCL not only urges contemporary researchers to continue where van Gulik left off, but also calls for new research projects on qin and Chinese literati music in general.
This article explores, from a perspective informed by Social Memory studies, memories of kings of Judah (/Israel) in three different corpora (the Deuteronomistic Historical Collection, the Prophetic ...Book Collection and Chronicles). It draws attention to the interdependence between memories of kings and other characters populating the world of memory evoked by each of these corpora and explores the ways in which the worlds of memory evoked by each of them interacted, informed and balanced each other within what we may call the "comprehensive mnemonic system" of the literati. The article sheds light on generative grammars governing systems of preferences and dis-preferences for certain types of memories of kings in each of the corpora and across them, and at times, even across cultures, and highlights that the world of memory of the Yehudite literati of the late Persian/early Hellenistic period was shaped by a consistency of inconsistency, and an overall coherence manifested through a seeming lack thereof that served well the social reproduction of the group.
This paper begins by examining the discourse on the term and concept of meishu that emerged in early twentieth-century China and was centered on how to construct meishu as a form of cultural ...establishment and a discipline distinct from other art genres. It then considers the social and cultural contexts behind the evolution of the meaning of meishu, focusing on Chinese artists’ and art critics’ complicated attitudes toward both Chinese artistic tradition and the influence of Western art, as reflected in their varied views on literati painting and its xieyi tradition. This paper demonstrates that the Chinese art world’s process of redefining meishu as fine arts was a clear indicator of the artistic endeavor to rediscover the roles of painting in Chinese society. Meanwhile, the paper also pays renewed attention to literati painting and its xieyi tradition by rethinking the relationship between the long-standing literati painting tradition and the increasing Western artistic trends in China. The Chinese art world of the early twentieth-century constantly attempted to encompass both Chinese and Western painting traditions, and relentlessly tried to merge the strengths of the Chinese tradition with Western influences in order to pave the way for a new Chinese painting tradition.
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