Search Results (64)

The Seven Masters of the Quanzhen 全真七子 sect served as central figures during the founding phase of Quanzhen Daoism and played key roles in the sect’s early development. Originally positioned as the “Northern Seven Perfected Ones” (Bei Qi Zhen 北七真), they were instrumental in propelling the prosperity and expansion of Quanzhen Daoism. Over time, their images subsequently proliferated across various media—including portrayals in stone inscription, painting, biography, and novel, undergoing transformations through inscriptions, paintings, biographies, and novels—transforming transmission channels from Daoist temples to stage performances and from street corners to modern screens. In the Jin and Yuan 金元 periods, Daoist biographies and inscriptions portrayed the Seven Masters as exemplary figures of Daoist practice. In folk novels and precious scrolls (Baojuan 宝卷) in the Ming 明 and Qing 清 dynasties, they were presented as legendary, divine immortals and distant ancestors available for narrative appropriation. In modern times—particularly due to the popularity of Jin Yong 金庸’s martial art novels—they completed their universalization as Daoist cultural resources blending chivalric ethos and entertainment value. Examining the evolution of the Seven Masters’ imagery, two fundamental implications emerge: First, this transformation was jointly shaped by the power structures, functional needs, and media forms of each era. Second, beneath the fluid representations from sacred patriarchs of the Jin–Yuan period to modern entertainment symbols, there is an enduring thread of Daoist transcendental consciousness. Full article

This paper examines the Daoist stelae of the Northern Dynasties through the lens of Eliade’s religious theory, with particular focus on the transformation of profane objects into sacred ones and the transition of local believers from the profane to the sacred. Utilizing Eliade’s notions of “symbol”, “myth”, and “sacred space”, this study investigates two critical dimensions of the Daoist stelae. First, it analyzes their visuality by closely examining the imagery and symbolic systems presented on the stelae—namely, the “mythical pattern” identified by Eliade—with particular attention to representations of the main deity, the Heavenly Palace, and the Xiwangmu Xianjing (Queen Mother of the West’s transcendent realm). Second, it addresses their materiality by reconstructing the invisible processes associated with the stelae, focusing on the formation of sacred space and the Daoist rituals enacted therein. Applying phenomenology of religion to Daoist stelae analysis helps compensate for the limitations of extant Daoist scriptures and official historical records. Full article

The publication of the Puhui Canon began in 1943, was interrupted in 1955, and was ultimately completed in 1998, spanning three significant historical periods: the Chinese War of Resistance Against Japan, the Chinese Civil War (1945–1949), and the early years of the People’s Republic of China. Its production was shaped by nationalism, Asian Buddhist interactions, warfare, and diplomacy. As the first Chinese Buddhist canon to incorporate Pāli texts, it reflects the legacy of Sino-Sri Lankan Buddhist exchanges since the late Qing dynasty. The Puhui Canon exemplifies a Pan-Asian vision, seeking to bridge Northern (Mahāyāna) and Southern (Theravāda) Buddhist traditions across Asia. Full article

The Western Regions during the Han and Tang Dynasties served as a significant cultural intersection along the Silk Road, with stupas acting as core architectural forms of Buddhist dissemination, embodying religious, cultural, and artistic evolution. This study is a research article based on typological analysis, integrating historical documents and archaeological site data to explore the stylistic evolution of stupa architecture in the Western Regions during the Han and Tang Dynasties, revealing the changes in religious beliefs and the process of cultural adaptation and integration of Buddhism in a multicultural context. The study demonstrates that the distribution of stupas shifted from being concentrated in areas such as Shanshan and Shule during the Han Dynasty to expanding across a wider region during the Wei, Jin, and Northern and Southern Dynasties, eventually forming a Gaochang-centered pattern in the Tang Dynasty. Architectural styles evolved from the simplicity of domed stupas to diversification and then to standardization. The number of niches increased from none to many before decreasing again, while the proportions of the stupa bases gradually increased. This evolution highlights the transition of stupa styles from a singular form to diversification, eventually achieving standardization in the Tang Dynasty. This transformation not only reflects the optimization of the temple layout, gradually shifting from a stupa-centered to a Buddha hall-centered structure, but also illustrates the evolution of stupas from symbols of the Buddha’s tomb to carriers for Buddha statues and ultimately to representations of the Mount Sumeru cosmological concept. This transition also mirrors the shift in Buddhist beliefs, evolving from Theravāda to Mahāyāna Buddhism and then returning to Theravāda practices. This not only facilitated the regionalization of stupa forms and the integration of artistic styles but also provided a significant medium for cultural exchange between China and the West. Full article

This study establishes a dataset of ancient military defense system sites in the Hexi Corridor area from the Han Dynasty to the Qing Dynasty to analyze the temporal changes and spatial distribution characteristics of the military defense system in different periods. In addition, it compares the climate characteristics of the Hexi Corridor area though the past 2000 years. It also discusses the possible relationship between the construction of the Hexi military defense system and climate change. We found that the Han and Ming Dynasties were the main periods for constructing the regional military defense system. Furthermore, the Wei, Tsin, and Southern and Northern Dynasties expanded the scale based on the previous period. As a result, the spatial distribution was highly concentrated. During this time, multiple cold–dry and warm–humid periods occurred in the region. Moreover, significant climate change coincided with the heyday of building military facilities and the period of frequent warfare. Environmental factors have an impact on the spatial distribution of military sites. Therefore, the northern border war was the direct cause of the construction of the military defense system. However, the transformation of the environment caused by climate change was the fundamental driving force for this process, evolving across different eras. Full article

As an exemplary and quintessential representation of China’s late-stage religious stone-carving art, previous research on the Dazu Rock Carvings has primarily concentrated on the typical cave remains in core areas like Baoding and Beishan. These investigations have been highly adept at archeological typology and iconographic analysis. This study, based on 134 extant inscriptions, reassesses the Beishan and Nanshan stone-carving complexes from the perspective of cultural heritage integrity. Through long-term landscape analysis, we uncovered their distinctive value in the construction of religious spaces during the Northern and Southern Song Dynasties. During the Song Dynasty (Zhao Song Dynasty), Buddhism held sway in Beishan, while Nanshan developed a comprehensive Taoist pantheon system encompassing the Three Pure Ones (Sanqing) and the Six Imperial Divinities (Liuyu). Together, they formed a religious spatial pattern of “Sakyamuni in Beishan and Taoist deities in Nanshan”. Furthermore, since the Shaoxing era (1131–1162), inscriptions left by Confucian scholars and officials during their visits to these two mountains have been frequently encountered. This spatial overlap phenomenon mirrors the profound integration of religious practices and secular power in the Bashu region during the Song Dynasty. This research breaks through the traditional case-study paradigm. By systematically examining the spatio-temporal evolution of the stone-carving complexes and the network of inscriptions, it reveals that the religious landscape of Dazu is, in essence, the outcome of the cumulative layering of political power, economic resources, and cultural aspirations across diverse historical periods. In particular, the transformation of Beishan and Nanshan from the merit caves of military generals in the late Tang Dynasty to the cultural spaces of the gentry class in the Song Dynasty vividly demonstrates the local practice model in the secularization process of Chinese religious art from the 10th to the 13th century. Full article

This article examines the functional transformation of Buddhist temples from religious edifices to elements of the political landscape in Northern Wei Luoyang, in order to elucidate the grandiose portrayal of these temples in geographical records. The proliferation of Buddhism significantly altered the spatial configuration of the capital city, previously dominated by imperial architectural complexes. Buddhist temples emerged as emblematic structures of Luoyang, surpassing palaces in prominence due to their extensive occupation of urban space, enhancement of the empire’s international standing, and involvement in the political vicissitudes of Northern Wei. Yang Xuanzhi drew upon the literary techniques of Han fu 漢賦, particularly its elaborate descriptive style, to articulate the sentiments of the emperor’s subjects and extol the ruler’s virtue while subtly conveying criticism and advice. By shaping Buddhist temples into imperial landscapes, Yang Xuanzhi conferred on Luoyang a legitimacy comparable to that of the Han Dynasty. The evolving social functions and literary representations of Buddhist temples during the Northern Wei Dynasty reflect the profound integration of Buddhism, politics, and literature. Full article

In the late Joseon dynasty, many Koreans crossed the border between Joseon and Qing for survival. They then migrated to Manchuria, in the Qing territory, around Mt. Baekdu. In the late 1900s, Japan seized diplomatic and military control of Korea, and in 1910, Korea was annexed by Japan. Many Koreans then moved to the Manchurian region of China. Religion played an important role in the large Korean community formed in Manchuria after the 1910s. During this period, Korean immigrant communities that were centered on religion were established in Manchuria. Among the many religions, Daejonggyo (大倧敎) places great emphasis on national consciousness, and it was an active component of the anti-Japanese armed independence movement to restore national sovereignty. In particular, Daejonggyo claimed that Dangun (檀君), the founder of the Korean people, came down from heaven, established the first nation of the Korean people on Mt. Baekdu, and governed the surrounding area. Accordingly, Daejonggyo considered the Manchurian region to be the ancient territory of the Korean people. In addition, Daejonggyo presented the concept of the Baedal nation as a Dangun lineage and included not only the Korean people but also various northern ethnic groups, such as the Manchurian people. By doing so, Daejonggyo converged not only the Korean Peninsula and the Joseon nation (minjok, 民族) but also the Manchurian region and various ethnic groups in Manchuria into its own territory and people. Through this, Daejonggyo believers not only secured the legitimacy of residing in Manchuria but also gained the justification to drive out the Japanese and restore the Korean peninsular ancient territory. Full article

The taxonomic position of the green alga Capsosiphon fulvescens was first reported from Northern Europe and has since been reported from all over the world, including Korea. In Korea, C. fulvescens has been used as an essential edible economic alga for approximately 570 years, from the time of the Joseon Dynasty to the present, and is currently under development as a new aquaculture strain. Therefore, examining the taxonomic relationships between the European and Korean C. fulvescens is important. In this study, we analyzed nuclear 18S rDNA and ITS regions and compared them with the DNA sequences of authentic materials of North Atlantic C. fulvescens. Additionally, rbcL and tufA genes were sequenced to analyze genetic variations among populations. The results showed that the Korean and European C. fulvescens were different species. Moreover, the Korean C. fulvescens was distantly related to the North Atlantic C. fulvescens at the order level. Moreover, the Korean C. fulvescens formed a sister group with the North Pacific Pseudothrix borealis. Cryptic genetic diversity was observed at the intraspecific level among the Korean populations. These findings will help in tracing the origin of the Korean C. fulvescens and provide new genetic insights into this species. Full article

The excavation of the Lieshan Kiln site represents a significant advance in the field of ceramic archaeology. Previous scholars fixated on the white porcelain unearthed from this kiln, yet this study zeroed in on celadon from the Northern Song and Jin Dynasties. Celadon samples were analyzed using colorimetry, energy-dispersive X-ray fluorescence spectroscopy (ED-XRF), scanning electron microscopy (SEM), polarizing microscopy, X-ray photoelectron spectroscopy (XPS), and thermal expansion analysis. Results revealed that material and technological advancements in the production of the Lieshan Kiln and reveal the special phase-separated structure in the glaze of the transparent celadon, with a weakly reduced firing atmosphere. Celadon bodies from both periods were crafted from local sedimentary clays in a single-ingredient formula, with the Jin Dynasty refining the preparation, leading to enhanced density and higher firing temperatures compared to the Northern Song Dynasty. The celadon glaze, a high-calcium type made up of glaze ash and specific clays, differed from the body materials. The high SiO₂/Al₂O₃ molar ratio, along with Fe₂O₃ and trace P₂O₅, promoted phase separation. Glaze coloration was modulated by the interaction of Fe³⁺ and Fe²⁺ ions, and chemical coloration by Fe ions prevailed when phase-separated particles were minute enough to avoid Rayleigh or Mie scattering. In conclusion, the study deepens the understanding of ancient ceramic production by exploring the phase separation structure and coloring mechanism of the celadon. Full article

In 2021, two small gilt bronze Buddha statuettes were unearthed from a tomb from the Eastern Han Dynasty in Chengren Village, Xianyang City, Shanxi Province. The excavation team believe that these statuettes are from the late Eastern Han Dynasty and represent the earliest independent gilt bronze Buddha statuettes ever discovered in China through archaeological excavations, a belief that has attracted widespread interest and debate among scholars worldwide. However, because the tomb had been looted in the past, the publication of these findings immediately sparked considerable debate, particularly over the dating of the statuettes. The main controversy revolves around two dating proposals: the “Late Eastern Han Dynasty” and the “Period of the Sixteen Kingdoms”. This paper proposes a third viewpoint by examining previously overlooked aspects and materials regarding the statuettes and by placing them within the context of the Guanlong region’s tradition of small gilt bronze Buddha statuettes. We contend that the two statuettes were not created at the same time: we believe that the standing Buddha statuette dates from the end of the “Period of the Sixteen Kingdoms”, whereas the flat five-Buddha statuette was likely crafted between the Yanxing 延興 era and the early Taihe 太和 era of Emperor Xiaowen 孝文帝 of the Northern Wei Dynasty. The styles, combinations of forms, and themes in these statuettes are not distinctive and are, in fact, typical of small gilt bronze Buddha statuettes from the late “Period of the Sixteen Kingdoms” to the mid-Northern Wei Dynasty in the Guanlong region. Full article

Throughout most of Chinese history, leaders viewed the migration and movement of their subjects beyond state borders as a symptom of poor governance. As a result, record keepers generally avoided addressing the topic of Chinese people traveling or residing overseas. There is, however, an exceptional moment in Chinese history that provides valuable insight into the early establishment of Chinese communities abroad. Facing political pressure after signing a humiliating peace treaty with foreign adversaries in 1005, the Song dynasty emperor Zhenzong (968–1022, r. 997–1022) utilized unconventional forms of religious diplomacy and revived ancient rites to shore up support for his rule. The Feng and Shan rites were the highest level of sacrifice that an emperor could undertake, and they were only carried out by several emperors prior to Zhenzong’s reign. One of the requirements of this complex ritual was for the sovereign to attract foreign peoples from afar by his virtuous character, and so Zhenzong’s reign witnessed major initiatives to attract foreign envoys from states such as Srivijaya (Sumatra), Dai Viet (northern Vietnam), Japan, and India. Zhenzong’s reign also incorporated forms of diplomacy that originated in South and Southeast Asia, namely, the construction of temples in foreign states to enhance his spiritual authority. This essay will demonstrate that Emperor Zhenzong relied on Chinese merchants residing overseas to work with foreign leaders to coordinate the participation of foreign emissaries in such forms of temple diplomacy and in the Feng and Shan sacrifices. The significance of these events brought the activities of Chinese people trading and residing overseas to the attention of the Song court and its chroniclers, and as a result, we are left with the earliest indications of Chinese communities abroad in official Chinese histories. Full article

The *Tattvasiddhiśāstra played an essential role in the history of Buddhism during the Southern and Northern Dynasties (420–589). Hitherto, the academic world has not systematically studied this treatise’s influence on the Sinification of Buddhism, specifically manifested in the emergence and demise of the Chengshi School. The acceptance of the *Tattvasiddhiśāstra went through three stages. In the third stage, the Chengshi masters, who studied the *Tattvasiddhiśāstra, affirmed this treatise as part of Mahāyāna. They adopted Mahāyāna doctrines to overcome the *Tattvasiddhiśāstra’s main limitation, lacking in-depth doctrines and an imperfect understanding of emptiness. However, they had mistaken that it was nirvāṇa rather than emptiness that limited the *Tattvasiddhiśāstra. Although they omitted the final target of nirvāṇa, their approach to emptiness was still influenced by the progressive mode of the *Tattvasiddhiśāstra. This paper clarifies that the demise of the Chengshi School was due to the Chengshi masters’ overestimation of the *Tattvasiddhiśāstra and their misunderstanding of Harivarman’s intention. No matter how hard the Chengshi masters attempted to improve their understanding, the Chengshi School would have inevitably died out as the Sinification of Buddhism proceeded. Full article

Fayun Monastery (法雲寺), a prominent Chan Buddhist monastery in Bianjing (汴京) during the Northern Song Dynasty, thrived for about half a century under the reigns of emperors Shenzong (神宗), Zhezong (哲宗), and Huizong (徽宗). Led by four generations of abbots—Yuantong Faxiu (圓通法秀), Datong Shanben (大通善本), Foguo Weibai (佛國惟白), and Fozhao Gao (佛照杲)—the monastery was esteemed by the royal family and influential in the development of the Yunmen School. This paper examines the monastery’s history through the tenures of its abbots, providing insights into the monastery’s significance in Northern Song Buddhism and its broader cultural and political context. Full article

In the first half of the seventh century CE, clusters of Buddhist cliff sculptures were carved into cliffs and boulders in Guangyuan, Mianyang, Bazhong, and other locations nestled in the northern Sichuan Basin. They mark the start of large-scale Buddhist grotto construction in Sichuan, significantly impacting the establishment of regional grotto traditions in southwestern China. Through analysis of site forms, statue types, and devotional inscriptions, this article argues that these Buddhist cliff sculptures represent a reintegration of divergent Buddhist practices and artistic conventions that emerged during the Southern and Northern Dynasties in northern and southern China. While their niche-based site structure and collective sponsorship through the yiyi association can be traced back to northern China in the prior two centuries, the sculptural style primarily reflects a regional tradition exemplified by the free-standing statues unearthed in Chengdu, central Sichuan in the Southern Dynasties. The construction of these sites, catalyzed by the influx of northern officials and monks into Sichuan toward the end of the Sui and the early Tang, provides valuable material for exploring the social integration of northern and southern China, as well as the religious dynamics between Buddhism and Daoism in northern Sichuan. Full article