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Urbanization is one of the milestones in the development of human society. Many regions in the southern parts of 'the old world' demonstrating an early emergence of agriculture also witnessed the flourishing of some of the earliest cities. Recent, yet still sparse, archaeological evidence appears to indicate a relatively later time for early urbanism in central Eurasia. However, given its vital geographic location and cultural nexus between East and West, more attention should be paid to the sedentary communities and their cities in oases amid the vast droughty desert, particularly in light of the rapidly increasing number of publications on early pastoralism and related communication routes along mountain chains and rivers. This study reveals the trajectory of urbanization and its role in the establishment of an exchange network in Xinjiang's oasis region via reconstruction of the chronological sequence of the local societal history of the Baiyang River Basin along the southern piedmont of the Eastern Tianshan Mountains. A thorough archaeological investigation and refined radiocarbon dating programme was carried out and coupled with information from historical documentation within a Bayesian statistical framework. The results indicate three pulses of local urbanization during: the Early Iron Age, Tang–Yuan period, and Qing Dynasty, respectively. Combining this with evidence from other parts of Xinjiang, we re-evaluate the role of oasis urbanism in the promotion of trans-regional exchange. [ABSTRACT FROM AUTHOR]

The historical topographic map preserves rich geographic information and can provide direct assistance for the reconstruction of various geographic elements. Based on the historical data of cities throughout the Qing Dynasty, the land use scale data of cities across the country was obtained using GIS and urban perimeter conversion models. This study combines city information and city circumference records from the historical maps and archives of the late Qing Dynasty to quantitatively reconstruct the use patterns of ancient China's urban land at a spatial resolution of 1° × 1°. Uncertainty analysis of the reconstruction results was conducted using modern remote sensing image data as the validation data set. The results showed the following. (1) During the late Qing Dynasty, the total area of urban land in the various provinces and regions was 1456.015 km2. The maximum value was 208.691 km2 in Beijing-Tianjin-Hebei, the minimum value was 1.713 km2 in Qinghai, and the average value was 56.001 km2. (2) The results of grid reconstruction show that among the 398 grids with urban land distribution, the maximum value is 64.099 km2/grid, the minimum value is 0.013 km2/grid, and the average value is 3.658 km2/grid. (3) Of all the grids with urban land, the urban land grid to the west of the Hu Line accounts for 12.5% and the east to 87.5%. (4) During the late Qing Dynasty, urban land use in China was primarily concentrated in agriculturally developed areas such as the North China Plain, the Central Plains, Jiangnan, and the Sichuan-Chongqing region. (6) The results of a kernel density estimation showed that there were obviously three core areas of urban land agglomeration in China during the late Qing Dynasty: the North China Plain-Central Plains, the Jiangsu-Shanghai-Zhejiang-Anhui area, and the Sichuan-Chongqing urban core area. This study provides basic data for urban land use during historical periods and provides a basis for the quantitative reconstruction of relevant urban land data for historical archives. [ABSTRACT FROM AUTHOR]

The relationship between social factors and the formation of exported mug designs is blurred. This study addresses how they influence material design. Based on a quantitative typological analysis, this paper interprets the cultural relationships underlying the evolution of mug designs exported during the Ming and Qing dynasties. The study reveals: (1) the typology and handle styles of mugs can be categorized into six types, with a predominance of Cylindrical bodies and Ear-shaped handles. Notably, artistic emphasis is concentrated on Bulbous cup bodies and Tail outward curved handles; (2) the design of mugs in the eighteenth century exhibited diversity, morphological similarities, and feature continuity, evolving from representational (Ming Dynasty) to abstract and then to minimalistic styles (Qing Dynasty), particularly evident in the three-dimensional modeling of handles for ergonomic comfort (transitioning from a singular Outward curved form to Ear-shaped form, and then to Entwined branch form); (3) the body shape of mugs transformed from Arc-barrel bodies to Bulbous bodies (focusing on heat retention), and eventually to Cylindrical bodies (prioritizing heat retention, practicality, and cost-efficiency).; (4) the volume of mugs steadily increased from the early eighteenth century, generally classified into large volume (≥ 500 ml), medium volume (200-499 ml), and small volume (< 200 ml); (5) considering the extreme range of volume (11090 ml) and height (25 cm), it indicates that these two variables do not necessarily have a direct positive correlation; (6) the low center of gravity in handle design (average width of 3.4 cm against an average height of 9.9 cm for the body) reflects considerations for the distribution of liquid weight and operational convenience. The volume of sample-10 (11127 ml) notably exceeds the typical range for tea-drinking utensils, revealing the mechanism of wealth and status symbolism. Market demand orientation emerged as the primary driver for the evolution of export mug designs during the Ming and Qing Dynasties, with adjustments in the merchant system playing a secondary role. The transformation in mug design reflects the interplay of multiple factors, with the trend toward minimalist design being a response to market demands. [ABSTRACT FROM AUTHOR]

Study on export paintings has gradually shifted from artistic form to cultural connotation, with an emphasis on cross-cultural communication. Although the economic and social dimensions of their artistic value have been explored, few studies delve into the connection between Qing-era Guangzhou's trade culture and its color characteristics. Utilizing the HSV color model and the k-means algorithm, this study analyzes the color traits of 35 export paintings depicting Guangzhou landscapes and works from the "Thirteen-houses commercial zone," revealing Qing-era Guangzhou's urban impressions and Sino-Western artistic interactions. Key findings include: (1) the hue pixel range in Guangzhou export paintings primarily spans 10°–60° and 120°–250° (dominated by red and yellow-green), saturation values range from 1–82% (primarily low saturation), and value values range from 11–94% (with a wide variance); (2) compared to traditional Chinese paintings, the transformation from pure color (正色) → inter-color (间色) → projection-perspective and light source illustrates both the blending of Eastern and Western artistic cultures and a diminishing influence of traditional ceremonial culture; (3) in contrast with Western artworks, some Guangzhou export paintings display a Westernization trend in color structures, evident in vibrant colors and stark chiaroscuro contrasts. As bespoke art commodities, export paintings microscopically reflect Guangzhou's unique trade culture and socio-political dynamics. The shifts in color schemes, integration of realistic styles, and human-centric characteristics unveil the intricate interplay between quasi-realism and transcendental aesthetics in Qing-era Guangzhou, as well as the nuanced dynamics between social capital and art within a global trade network. [ABSTRACT FROM AUTHOR]

Revealing the association between natural elements and "religion, culture, or art" through text mining of poetry provides a new perspective for in-depth interpretation of Associative Cultural Landscape. Taking Tianmu Mountain, an important spot on the Road of Tang Poetry in Eastern Zhejiang, as an example, this study focuses on 444 poems written by 269 poets from the Eastern Han Dynasty to the Qing Dynasty in the Tianmu Mountain region. Text mining methods, such as text segmentation and social network analysis, are employed to conduct frequency statistics and association analysis of Landscape Terms in the poetry. The findings are as follows: (1) The descriptions in the poems bear witness to the beautiful and diverse Natural Landscape, the abundant Humanistic Landscape, and the unique Folk Landscape of Tianmu Mountain. These collectively reflect Tianmu Mountain with its religious features of cultivating both Buddhism and Taoism, cultural features of accumulating abundance and influence, as well as artistic features of blending picturesque charm and poetic grace. (2) The Cultural Landscape of Tianmu Mountain described in poetry across different dynasties exhibits characteristics of four relationships: "Group Relationship, Hierarchical Relationship, Interactive Relationship, and Cognitive Relationship." It reveals the close association between natural elements in the Tianmu Mountain and "religion, culture, or art." The research has constructed a theoretical model for interpreting the Multi-relationship within Associative Cultural Landscape, as well as provide the support of theories and methods for understanding the characteristics and interpreting the association of global Associative Cultural Landscape. It offers crucial scientific foundations for their overall conservation and sustainable utilization. [ABSTRACT FROM AUTHOR]

The formation of decorative patterns on export porcelain has risen to the research dimension of cross-regional culture. The interplay between social elements and the formal evolution of export porcelain bowls from the Qing Dynasty in Guangzhou remains nebulous. This study elucidates these underlying cultural dynamics through the lenses of utility and societal implications, thus addressing how societal components contribute to the molding of tangible cultural heritage. Key findings include: (1) A dominance of the ring-foot design in the bases of Qing Dynasty export bowls; (2) The diameter and height of the Qing Dynasty export bowls show relatively concentrated characteristics, reflecting a systemic production trend and relative consistency in form; (3) Some of the Qing Dynasty bowls exceed the parameter range of typical tableware, reflecting the adaptability and innovation of production mechanisms in responding to special market demands. The morphological evolution of the Qing Dynasty export bowls is a true reflection of the interweaving of multiple factors such as comfort design and aesthetic preferences, while the uniformity in shape is a comprehensive reflection of meeting market demands and advances in production technology. This study extends the research dimension to the interaction between standardized production techniques and socio-cultural demands. [ABSTRACT FROM AUTHOR]

Water engineering facilities are a crucial component of the Beijing-Hangzhou Grand Canal during the Ming and Qing dynasties, and their distribution is closely related to the hydrological and topographical characteristics of the area. In this study, we reconstructed the canal network distribution map and water engineering facilities database of the Ming and Qing periods using ArcGIS (Geographical information systems software) 10.8 software. We employed Amos (Analyze of Moment Structures) 26.0 software to investigate the influence of various natural environmental factors on the selection of water engineering facility sites. The results revealed a significant correlation between the spatial distribution of water engineering facilities and the main channel slope and slope direction, which had a direct impact. The estimated coefficient for the main channel slope was -0.166, showing a negative correlation with the spatial distribution of water engineering facilities, while the estimated coefficient for the main channel slope direction was − 0.112, also indicating a negative correlation. Moreover, the estimated coefficient for the watershed area where water engineering facilities were located was -0.096, demonstrating a negative correlation. In contrast, the effects of tributary slope and slope direction on the spatial distribution of water engineering facilities were indirect, mediated by the watershed area where these facilities were situated. The effect size for tributary slope was -0.017, showing a negative correlation, while the effect size for tributary slope direction was 0.010, indicating a positive correlation with the spatial distribution of water engineering facilities.The study achieves the integration of the heritage of water engineering facilities along the canal from point to line, provides data support for the construction of the cultural heritage corridor of the canal, and facilitates the promotion of heritage protection and rational layout, which is of great significance to the understanding of the canal culture. [ABSTRACT FROM AUTHOR]

The gradual loss of certain good cultural genes in the traditional ritual system is, to some extent, driven by the value orientation of the art of ancestral hall decoration. This article uses wall paintings as a medium to uncover significant variables affecting the decorating of ancestral hall murals and to analyze the culturally formative relationships underlying their art from a ceremonial perspective. It depends on textual excavation. The analysis demonstrates that: (1) the 521 murals generally transmit positive content; (2) the shift in the painted figures' seating and grooming from formal to casual represents the fading of ceremonial concepts; (3) The control of economic costs may be a possible explanation for the large number of figures in crouching, skirting, and side-lying postures in wall paintings; (4) The fact that the colors employed in the garments of the figures from the Ming and Qing dynasties don't follow the folk color scheme demonstrates that the creative production at that time was not constrained by a lot of ritualistic considerations. The study concludes that the absence of an educational component in the arts is a contributing factor to the diluted nature of traditional rituals in modern China. [ABSTRACT FROM AUTHOR]

Grotto temples in Henan Province, which began in the Northern Wei Dynasty and ended in the Republic of China, have been excavated and repaired to varying degrees in the Sui, Tang, Song, Yuan, Ming and Qing dynasties. In this study, 119 grotto temples sited in Henan Province were considered as the research object, and the spatial and temporal distribution of grotto temples in Henan Province is analyzed by using the method of quantitative geographic analysis and ArcGIS 10.5 software. The analysis results indicate that the grrotto temples (including cliff statues) in Henan Province tend to have a cohesive distribution, with uneven regional distribution, mainly concentrated in the western and northern regions of Henan. The distribution direction and center of the grotto temples (including cliff statues) did not change much during the Northern Dynasties, Sui and Tang dynasties, and Song and Yuan dynasties, mainly distributing in the northwest of Henan. However, the situation underwent significant changes and began to migrate to south of Henan, reflecting the changes the changes in the political and cultural center at that time. The spatiotemporal distribution of the cave temples (including cliff statues) was based on the related topography, river systems, stratigraphic lithology, road traffic, and was direct or indirect influenced by the authorities as well. [ABSTRACT FROM AUTHOR]

A composite structure consisting of cotton fabric and iron sheet was widely used in Qing Dynasty armor. Due to iron sheet corroding easily, the surfaces of cotton fabric were covered with numerous rust compounds, which has a significant negative impact on the relics. In this paper, by taking Qing Dynasty armor relics as the research object, the cleaning process was reported for cotton fabrics stained with corrosion products. Using an orthogonal experiment, rust stained model samples were used to explore a specialized and efficient cleaning process. Results show that the cleaning reagents, including ascorbic acid (mass fraction 10.0 g/L), ethylenediaminetetraacetic acid disodium salt (EDTA-2Na, mass fraction 10.0 g/L), and the surfactant composed of 70% rhamnolipid and 30% alkyl glycoside (mass fraction 8.0 g/L), could fully exert a synergistic effect. After treatment, the color difference (ΔE) value between the cleaned sample and the unstained sample is only 3.81. A series of comprehensive experimental results demonstrate that the cleaning procedure is effective and safe. There are almost no rust compounds and cleaning reagent residues, and no damage to cotton fiber. The reported wet cleaning process, aided by soft bristle brush, achieved good cleaning results, indicating that the process can be used to clean rust stain pollutants in Qing dynasty cotton armor. [ABSTRACT FROM AUTHOR]

Karst regions are exceptionally responsive to global change with their harsh natural environment, fragile ecology, and acute human-land conflicts. The reconstruction of cropland spatial pattern in karst areas during the historical period is typical for studying human-land relations in karst areas and has important practical significance for climate study. The ecological environment changes at regional and global scales, primarily to provide essential data and a theoretical basis for studying the inverse evolution of rock desertification in karst areas. Guizhou province, a typical karst area, was selected as the research area in 1820. Based on the correction of historical population data and cropland data, a reconstruction model of cropland spatial pattern in karst areas during the historical period was constructed by selecting factors such as elevation, slope, soil types, organic matter content, climatic productivity potential, distance to river and distance from settlements to reconstruct the spatial pattern distribution of cropland in 1820 of Guizhou. The results show that the data on cropland recorded in Guizhou during the Qing dynasty is too low, mainly due to Yin-Ni and the policy of Tu-Di-Mian-Ke. In 1820, the total area of revised cropland in Guizhou was 1,851,792 hm2, with the highest proportion of 14.32% in Dading Fu and the lowest in Songtao Ting at 1.6%. Only 30% of the grid in Guizhou has a cropland distribution. It is mainly concentrated in the central part of Qianzhong District (Anshun and Guiyang Fu), the southern part of Qianbei District (Pingyue Fu and southern Zunyi Fu), the western part of Qiandongnan District, the central and eastern parts of the Qiandongbei District. The overall average reclamation rate of land in Guizhou is 10.93%, the highest reclamation intensity in Qianzhong District, with 8.5% of grids ≥ 50%, and the smallest in Qianxinan District, with only 1.65% of grids ≥ 50%. The analysis is validated by comparing the reconstruction model and the reconstruction results. It can be seen that the reconstruction model and research results of this paper can more objectively reflect the distribution of cropland in karst areas during the historical period, and the reconstruction model is suitable for karst areas with low productivity levels. [ABSTRACT FROM AUTHOR]

Murals of Cave 256, Mogao Grottoes consist of several layers, with the outermost layer overlays all others. The bottom layer was painted in the five dynasties. The outermost layer was mural of the Song Dynasty. Statues were repainted in the Qing Dynasty. We found that different blue pigments are used in multilayer murals which reflects the social development at that time to a certain extent. In order to know the type of blue pigments, technology such as X-ray diffraction, microscopic FTIR spectroscopy and polarizing microscope were used for analysis of trace samples based on non-destructive research through the portable X-ray fluorescence. As a result, we know that Lazurite was used as blue pigment in murals of the Five Dynasties and Azurite was used in the Song Dynasty. Smalt used in statues of the Qing Dynasty was first discovered in Mogao Grottoes. It can be inferred from the discovery of smalt that statues of the Qing Dynasty in Cave 256 were repainted in the first half of the nineteenth century. [ABSTRACT FROM AUTHOR]

The geographical environment of Yunnan Province in China and Han migration during the Ming Dynasty contributed to the development of the Biantun culture. Biantun toponyms (BTT) record the integration process between the Central Plains and native Yunnan cultures. The GIS analysis method of toponyms was used in this study to reproduce the settlement characteristics of BTT and the spatial development of the Biantun culture in the Ming and Qing Dynasties. In addition, we have developed a toponymical landscape index to represent the degree of spatial integration between the BTT and ethnic minority toponyms in Yunnan and explore the spatial characteristics of the integration of Han immigrants and local ethnic minorities. The results show that the spatial distribution of the BTT is consistent with the sites selection of the Tuntian (屯田) in Yunnan during the Ming and Qing Dynasties, and the centroids of BTT spread to outskirts and intermontane area from central towns. In the Dali, Kunming, Qujing and other regions, the distribution characteristics of the integrated of BTT and ethnic minority toponyms reflect a higher degree of Sinicization in the central urban areas. Exploring the evolution of Biantun cultural development through the spatial characteristics of toponymical landscapes can help adjust policies for the development and protection of Biantun cultural resources. [ABSTRACT FROM AUTHOR]

Decoration with feathers is a universal phenomenon in human history. Objects decorated with feathers were regarded as fine artworks and hence were enormously prized. In ancient China, dotting a surface with blue kingfisher feathers was a famous, complex and delicate decoration technique called diancui. Although various ancient diancui artworks appear in many museums around the world and researchers have realized significant results in studies of the history, technique and conservation of diancui, some key historical details are still not clear. In this research performed during restoration, an important object from the Palace Museum, the "Feather Decoration Hanging Screen with Birds and Flowers Pattern", was analyzed by various scientific technologies. This object is a Chinese imperial artwork of the Qing dynasty (seventeenth to eighteenth century) decorated with kingfisher feathers and the feathers of several other birds, and it represents the highest level of this period. As a typical and valuable case, the results provide important clues for solving questions arising from related academic fields. [ABSTRACT FROM AUTHOR]

Guangzhou Tongcao paintings in Qing Dynasty of China witnessed the exchange of economy, culture, art and technology between China and foreign countries, which were an important export product in historical China. In this paper, by using Optical Stereo Microscope, Polarized Light Microscope, Scanning Electron Microscope attached Energy Dispersive Spectroscopy and micro confocal laser Raman Spectroscope, a Qing Dynasty Tongcao painting with the subject of family life of an official's female relative was analyzed. Our study revealed that: (1) the hexagonal cell morphology which was easily observed in the Tongcao pith could contain more pigments and increase the stereo sense of painting, and the cell of historical Tongcao pith had started to degrade, which indicated an urgent requirement on conservation of Tongcao paintings; (2) alum was needed as the fixing agent in the preparation of pigments and the painting process; (3) both the China domestic pigments including red lead, calcite, lead white, carbon black and gamboge, and the synthetic pigments imported from Europe (synthetic ultramarine, prussian blue and emerald green) were applied in this painting, which reflected the bi-directional communication of culture and technology between China and western world. Meanwhile, the existence of synthetic ultramarine, prussian blue and emerald green was helpful to further identify the production date of this painting was late Qing Dynasty, mainly the mid-late 19th century. [ABSTRACT FROM AUTHOR]

In this study, in order to analyze the materials and techniques used for the production of the inscribed plaques, multi-analytical scientific approach, including optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM–EDS), X-ray diffraction (XRD), micro-attenuated total reflection Fourier transform infrared spectroscopy (μ-ATR-FTIR), and micro-Raman spectroscopy (μ-Raman), were used to explore the materials and techniques utilized to create the "Chun Rong Xuan Mao" birthday inscribed plaque of the Qing Dynasty. The results showed that the plaque was made of cypress wood and decorative parts consisting of the surface lacquer layers, plaster lacquer layers and primer lacquer layers. Chinese lacquer was the principal material used in the surface lacquer layers; gypsum and Chinese lacquer were the materials used in the plaster lacquer layers; and the primer lacquer layers was composed of Chinese lacquer, calcite, and mixed pigments by cinnabar and minium. The surface lacquer layers of the inscribed plaque were lacquered black. Gypsum lacquer plaster has been commonly used in the ground layer of lacquerware in modern history. This study confirmed the existence of technology to make lacquerware using gypsum lacquer plaster in the Bashu area during the late Qing Dynasty. Moreover, this study not only provides new findings regarding the traditional production of inscribed plaques and offers technical support for the protection and restoration of such plaques but also has great significance to exploring the history of ancient techniques of lacquering and decorating lacquerware. [ABSTRACT FROM AUTHOR]

The House of Aisin Gioro is the imperial family of the last dynasty in Chinese history-Qing dynasty (1644-1911). The Aisin Gioro family originated from Jurchen tribes and founded the Manchu people before they conquered China. By investigating the Y chromosomal short tandem repeats (STRs) of seven modern male individuals who claim to belong to the Aisin Gioro family (three of which have full records of pedigree), we found that three of them (two of which having full pedigree, whose most recent common ancestor is Nurgaci) showed very close relationship (1-2 steps of differences in 17 STRs) and possessed a rare haplotype. We therefore conclude that this haplotype is the Y chromosome of the House of Aisin Gioro. Further tests of single-nucleotide polymorphisms indicate that they belong to haplogroup C3b2b1*-M401(xF5483), although their Y-STR results indicate that they are not a part of the 'star cluster' (once linked to Genghis Khan), which belongs to the same haplogroup. This study forms the base for the pedigree research of the imperial family of Qing dynasty by means of genetics. [ABSTRACT FROM AUTHOR]

Tie luo (affixed hanging) was an expressive form of traditional Chinese calligraphy or paintings, and popular in the imperial palaces for interior decorations in Qing Dynasty (1644-1911 C.E.). A piece of calligraphic tie luo, written by an eminent calligrapher Gu Gao (1763-1832 C.E.), was restored recently in the Palace Museum, Beijing, China. The paper with pigment coating specially made for this calligraphic piece was named as fenjian. This article presented results from materials identification prior to the restoration. Multianalysis with scientific approaches revealed how tie luo was manufactured. It could be concluded that the investigated tie luo used a paper made from bast fibers of mulberry trees. And the decorative ground layer for the piece was also studied, which indicated that a type of organic red pigments were used for the masterpiece. White lead was considered as the main pigment, mixed with a red dye extracted from sappanwood. Meanwhile, animal glue, drying oils and beeswax were confirmed as the organic binding media. In dye analysis, protosappanin B and brazilin as well as brazilein were identified, which implied that sappanwood was used for the organic manufacture of pigments. In addition, both Nowik type A and C were found in the research, which were characteristic of sappanwood for identification. [ABSTRACT FROM AUTHOR]