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A significant paradigm shift in the examination of China's engagement with the maritime world has taken place over the past decade. The conventional image of the Qing dynasty in the long eighteenth century as being merely land-orientated has now become obsolete. Historians are no longer satisfied with this stereotype and have put aside the conception that the Qing only realized the importance of strategic marine governance after the First Opium War. In view of this historiographical turn, I seek to deepen our understanding of the Great Qing in relation to the sea. By focusing on a series of sea charts, alongside some relevant palace papers, from the eighteenth and early nineteenth centuries, I will argue that the Qing's process of locating and charting those offshore islands was an essential, indicative, and demonstrative step for the central authority to project its imperial power onto the waters off the coast of China long before the arrival of Western gunboats in the age of global rivalry. [ABSTRACT FROM AUTHOR]

This article examines Ziti xiaozhi 紫隄小志 and Ziticun xiaozhi 紫隄村小志, compiled by Wang Yong’an 汪永安 in the early Qing Dynasty. Through the analysis of the genesis context and content changes of these local gazetteers, this paper shows how local social conditions and changes in the political environment affected the content of local gazetteers. In particular, I first demonstrate that Wang Yong’an’s inclusion of a large number of good deeds of the Hou 侯 family of Shanggu 上谷 and the Wang 汪 family of Pingyang 平陽 in his gazetteers had two purposes. On one hand, it was an attempt to influence compilers of official gazetteers to include members of their own clans. On the other hand, it reflected his belief that narratives of loyalty and righteousness could change the declining moral standards of Ziti villagers. Second, this paper also points out that in Ziticun xiaozhi, Wang Yong’an deleted sensitive content that expressed nostalgia for the Ming Dynasty and that affirmed the legitimacy of the Southern Ming regime. This reflects the latent self-censorship that emerged among literati during the Yongzheng 雍 正 period and illustrates the profound impact of political changes on how local elites wrote township gazetteers. [ABSTRACT FROM AUTHOR]

Previous studies generally held that among the three examination essays written by Tang Xianzu 湯顯祖 (1550-1616) in 1583, two of them had long been lost. In the absence of these examination essays, some scholars, based on their impression of Tang's zhiyi 制藝 (commonly known as "eight-legged essay") writing style, think that Tang's repeated failures at the exams were tied to the fact that his views on the eight-legged essay were contrary to orthodoxy. In this article, I attempt to discover the whereabouts of Tang's three examination essays by examining numerous anthologies of eight-legged essays printed during the Ming and Qing dynasties. By comparing different versions of his examination essays, this article demonstrates that the writings collected in anthologies from the Ming and Qing dynasties are not identical. In order to correspond to the writing norms of the Qing dynasty, Qing compilers often shortened the "great conclusion" in the original texts. The abridgment in the concluding paragraphs of Tang's examination essays not only weakens the structural beauty of his essays, but also conceals the ideological connotations found in the original texts. The rediscovery of Tang's examination essays with their concluding paragraphs reveals that his eight-legged essays not only meet the examination specifications in their content and form, but also that they incorporate lyricism and irony. [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 Seven Victories is one of the most influential works in Catholic literature from the late Ming and early Qing dynasties. The seven victories spiritual cultivation contained therein is the result of the localization of the practice of the Christian faith in the West. It is still a living tradition in the Christian religion and even in Western culture. Since the end of the Ming Dynasty, The Seven Victories has aroused significant repercussions in the ecclesiastical and academic worlds. Some scholars converted to Catholicism because of The Seven Victories and wrote preambles in response to it; some scholars wrote essays criticizing the ethical ideas of The Seven Victories; and some scholars were inspired by The Seven Victories to write about Confucian ideas of sin, the work of reform, and the liturgy of repentance. Together, these constitute the history of the reception of The Seven Victories in China. Through Confucian culture integration, Chinese Christian scholars have developed a localized interpretation of the seven victories spiritual cultivation, resulting in a localized Chinese spiritual cultivation of sin. [ABSTRACT FROM AUTHOR]

It has been observed that since the Early Qing Dynasty, the eastward spread of Western classics has been in decline; this article aims to looks at how Protestant missionaries helped to revive it in the late nineteenth and early twentieth centuries. First, this study examines the circumstances that Protestant missionaries faced upon arriving in China and describes the challenges, opportunities, and issues they encountered when attempting to spread Western classics as part of their missionary effort. Second, this article reveals the strategies Protestant missionaries employed to revive the Western classics, with a focus on the utilization of the translated literature, press, and academic institutions. Third, this article explores the ways the spread of Western classics by the missionaries of the late nineteenth and early twentieth century outshone the achievements of their predecessors of the late sixteenth and seventeenth centuries. Unlike the missions through secular knowledge in China, the spread of Protestantism in Korea took place in a more direct manner. This comparative study in the last section highlights the importance of each country's endowment in terms of the method and effectiveness of missionary efforts. [ABSTRACT FROM AUTHOR]

In the history of Chinese embroidery, Gu's Embroidery in the late Ming Dynasty and Ding Pei's Principles of Embroidery can be considered the pinnacle of embroidered painting's practice and texts. Nowadays, there are many studies of the unique position and artistic value of "embroidered painting." It is in this context that this paper offers a particular consideration of the technical aspects of embroidered painting in the Ming and Qing dynasties. With a series of specific questions, this paper is designed to examine embroidered painting from the perspective of stitching technique and gender, as well as its dual status as both an independent art form and a stitching technique. However, due to its nature as a women-exclusive art, embroidery suffered discriminatory treatment and was unable to acquire its privileged status in a male-dominated imperial society. As a result, embroidered painting had to win discourse power by not emphasizing its sophisticated technique. [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]

Previous studies have established the use of various blue pigments, including both local and imported varieties, in the decoration of architecture in ancient China. However, the application of these pigments in local religious architecture has been understudied. In this study, the chemical analysis of ultramarine blue pigments was conducted on a mural painting retrieved from Yongle Taoist Temple in ancient China. The results showed that both imported and local pigments were used individually in the initial drawing period of the Yuan Dynasty (AD 1271–1368), whereas they were mixed in a later restoration in the Qing Dynasty (AD 1636–1912). Of particular significance, the analysis revealed the presence of lapis lazuli in a local religious relic of the Yuan Dynasty for the first time. Further analysis of the elemental proportions and associated minerals led to speculation about the origin of the lapis lazuli, which is believed to have come from Badakhshan, the northeastern region of Afghanistan, and been transported to Central China through the Silk Road. This finding shed light on the trade routes and usage of these pigments in the construction of religious architecture from the Yuan to the Qing dynasties. [ABSTRACT FROM AUTHOR]

The son-in-law of the Qing emperor was given the title of "efu." Taking Han-Jun bannerman Sun Cheng-yun, the son-in-law of Emperor Kangxi, as the starting point, this paper explores the status of his family in the early Qing dynasty based on archival materials and biographies. Marrying up into the royal family through a princess had a certain impact on Sun's family in terms of his inheritance of a niru, the tenure of family members, and the family's hereditary titles. The examination of this family also provides some insights into the political status of the Han-Jun banner sons-in-law of the early Qing emperors. [ABSTRACT FROM AUTHOR]

This article examines the planning intentions and practices of sixteen administrative cities in Taiwan during 1683-1895, focusing on their relationship with the giant city system of Qing Dynasty. Since Taiwan was brought under Qing's rule in 1683, sixteen cities were gradually planned and constructed as government seats to achieve spatial governance of new territory. These cities thus became a small but typical group within the entire city system, which included over 1500 members at that time. How were these cities planned and constructed in such remote, undeveloped territories? What principles and methodology had been strictly complied with or actively adjusted in their planning, facing the reality of various topography, unstable policies, diverse social demands, and changing situations of different times? This article attempts to answer the questions from four aspects: city site selection, city-wall shaping, functional facility configuration, and planning and construction sequence. Multiple study materials were employed in this research to reconstruct and analyse historical planning practices, including officially compiled local gazetteers, multisource historical records, digital elevation model(DEM), and field survey data. This study aims to enrich the understanding of city planning history in Taiwan, and to reveal these cities' conformity and variety to the age-old Chinese city-planning tradition. [ABSTRACT FROM AUTHOR]

Since the arrival of Christian missionaries in China through maritime trade networks, missionary activities have been changing from the 16th century to the 18th century. Christian missionaries faced numerous challenges stemming from cultural context and religious policies in China. Throughout history, various religious strategies have been employed to address these challenges. The use of Chinese porcelain to depict Christian imagery holds significant importance. The present study is focused on four representative Chinese porcelains dating from the Ming to Qing dynasties, each associated with specific phases of Christianity in China. Examining the connections between the Christian mission in China and Christian iconography on Chinese porcelain leads to the conclusion that the visual culture associated with the Christian mission in China is influenced by and reflects intercultural or interreligious dialogue with mutual understanding. In the meantime, it signifies an intricate process of interaction, appropriation, hybridization, and adaptation, through which Christian iconography gained new significance on Chinese porcelain. [ABSTRACT FROM AUTHOR]

From his arrival in China in 1888 to his departure in 1930, Canadian missionary, Donald MacGillivray (季理斐), was in China for more than 40 years. According to changes in the Chinese missionary situation, the key target of his mission was frequently adjusted. From his initial work in the early days in North Honan, to his work with officials and intellectuals in Shanghai in the late Qing Dynasty, then to students, women, and children in the Republic of China, Donald MacGillivray continued to preach to both the masses and the elites. His approach was flexible, ranging from oral preaching to academic publications. Relying on his interpersonal network, MacGillivray paid close attention to the social changes occurring in modern China. An evaluation of his activities in China can not only reveal the impact of individual missionaries in the process of Western learning and the transformation of Chinese knowledge in modern times, but also provide insight into the integration of Christianity into the indigenization process of China. [ABSTRACT FROM AUTHOR]

This article provides a systematic and in-depth study of the form, function, craftsmanship, usage, and cultural connotations of Qing Dynasty ritual vessels from an archaeological perspective. They are intended to clearly reveal the profound historical and cultural value carried by Qing Dynasty ritual vessels, as well as their practical impact on modern society. Through a combination of detailed archaeological data analysis and design theory, this article not only explores how the Qing Dynasty ritual vessels reflected the political concepts, cultural identity, aesthetic taste, and living habits of rulers but also further analyzes the influence and inheritance of these ritual vessels in the development of daily utensils in later generations. This article pays special attention to the materials, shapes, patterns, and colors of Qing Dynasty ritual vessels. It compares and analyzes the similarities and differences between these features and contemporary everyday objects, as well as their innovation and changes in modern design. This article also delves into the influence of Qing Dynasty ritual vessels from multiple perspectives, such as politics, economy, culture, and religion, providing readers with a new perspective to understand the social culture of the Qing Dynasty and the inspiration of Qing Dynasty ritual vessels on modern design ideas. This study not only deepens the academic understanding of Qing Dynasty ritual vessels but also provides essential theoretical support and practical guidance for practical fields, especially cultural heritage protection, and modern design innovation. [ABSTRACT FROM AUTHOR]

The rapid modernization in China has aggravated the reduction of the traditional settlements and aroused concern about the protection and research. This study aims to examine the spatial-temporal variations Tujia traditional settlements in China and to delineate the driving mechanism of the settlement distribution. Previous studies have focused on the characteristics of settlements in provincial or smaller areas, providing lacked information regarding spatial distribution heterogeneity of Tujia traditional settlements in China. In this study, the spatial heterogeneity and influence factors of the distribution of traditional Tujia settlements were examined using the GIS platform and statistical methods. The results reveal that the spatial distribution of settlements exhibits clustering with the pattern of "scattered distribution in a large region, while concentrated in small areas". The settlements were generally built in low hills, gentle slopes, sunny slopes and low-relief terrain areas, with elevation, relief degree of land surface (RDLS), slope and aspect were the key factors affecting the distribution. In Song, Yuan, Ming and Qing dynasties, settlements showed significant clustering all through, though the location and number of clustering center kept changing. In this process, the history of the Tujia chieftain and the transportation and marketing lines of Sichuan salt had a profound influence on the historical evolution of the settlement. [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]

Diagnostic investigations were carried out on a rare Chinese polychrome glazed ceramic dating back to the reign of the Xuande Emperor (1426–1435). The double-walled warming bowl was investigated using several non-invasive methods such as portable optical microscopy, endoscopy, portable X-ray fluorescence spectrometry, X-radiography, and computed tomography. One microsample was collected and analyzed by scanning electron microscopy with an energy dispersive X-ray detector. According to the results, the chemical composition of the paste suggested a porcelain typology, while the glaze belongs to the lead–barium–silicate (PbO-BaO-ZnO-SiO2) system. These unexpected data contrast with common knowledge, which attests that the addition of barium in glass and ceramics manufacturing disappeared soon after the Han dynasty (206 BCE-220 CE). Moreover, the combination of PbO-BaO-ZnO-SiO2 seems to be quite rare both in ancient pre-Han times and during the Ming and Qing dynasties. This paper aims to demonstrate that (a) the use of barium for glaze and glass composition, which seems to have its roots in Taoist alchemy, was not totally halted in later periods compared to the Han dynasty; (b) lead–barium–zinc–silicate glaze was used during the Xuande Emperor's reign. Through a review of ancient Chinese literary sources, we found a lot of unpublished information on the use of barium, lead, and zinc in the production of glazed ceramics during this period. The polychrome glazed warming bowl suggests a particular production that flourished during the brief reign of the Xuande Emperor. [ABSTRACT FROM AUTHOR]

The book Lidai Shenxian Tongjian (The Comprehensive Mirror of Immortals Throughout the Dynasties), a compilation of Taoist narratives from the early Qing dynasty, contains a dedicated section on "The Life of Jesus," accompanied by two images portraying Jesus and the Virgin Mary. "The Life of Jesus" is believed to have originated from Gaspar Ferreira's Nianzhu Guicheng (Rule for the Recitation of the Rosary) and Diego de Pantoja's Tianzhu Yesu Shounan Shimo (The Passion of the Lord Jesus). The narratives and images of Christian content within Tongjian showcase the influence of Chinese Ming–Qing Taoist immortal stories and the indigenization of Christianity that resulted in a fusion of Chinese and Western cultural elements. Multiple versions of the accompanying images exist in different editions of Tongjian, indicating an evolution in the depictions of Jesus and the Virgin Mary. Through a comparative analysis of these images and their variations, we can glean valuable insights into the Qing dynasty editors' reception of Western culture, shedding light on the process of localizing Christianity during the Ming–Qing period and emphasizing the significance of the cultural exchange and mutual understanding between Chinese and Western civilizations. [ABSTRACT FROM AUTHOR]

Wang Lingguan is a significant deity in Chinese Daoist beliefs and folk worship. His belief's formation and proliferation are rooted in specific spatial contexts. This paper introduces a spatial perspective to provide a fresh interpretation of Wang Lingguan's belief, examining it through the lenses of ritual, temple, and geography. In Daoist rituals that bridged sacred and secular spaces, Wang Lingguan emerged as Sa Shoujian's protector, manifesting his divine power to devotees. For the purposes of ritual simplification and spatial solidification, believers constructed Daoist Temples as emblems of sacredness and reimagined Wang Lingguan as the protector of these temples in their design. The active involvement of the Ming royal family in building Daoist Temples significantly contributed to establishing regional belief centers for Wang Lingguan. During the Qing Dynasty, although Wang Lingguan's royal patronage waned, his belief spread across most of China, becoming more localized and secularized. The dynamic interplay of ritual, temple, and geographical factors illuminates the establishment, dissemination, and evolution of Wang Lingguan's belief throughout China. [ABSTRACT FROM AUTHOR]

In the early Qing dynasty, the Jesuit missionary Louis de Poirot's (He Qingtai 賀清泰, 1735–1814) Chinese rendition of the Bible, Guxin Shengjing (The Ancient and New Testament) (古新聖經), reshaped the figure of Abraham. Contrary to the depiction by Chinese Jews of the era, de Poirot portrayed Abraham as a sage, resonating with the traditional Chinese concept of the "five cardinal relationships" (rulers to subjects, fathers to sons, husbands to wives, among siblings, and between friends), and an exemplar of virtue and faith, devoid of human flaws. Key differences emerged in translating Abraham's name, religious stature, and national identity, influenced by distinct belief systems, attitudes towards Confucian culture, and political dynamics. Analyzing these Catholic and Jewish perspectives on Abraham enhances our understanding of the Bible's contextualization and informs contemporary religious localization. [ABSTRACT FROM AUTHOR]

The Franciscan Order was one of the most important missionary orders in China during the Ming and Qing Dynasties. While rooted in the local communities, they also engaged in various forms of interactions with Chinese literati. This article will begin by briefly discussing the issue of the Franciscans changing from religious habit into Chinese dress as well as their evolving attitude towards Confucianism and Chinese rituals, aiming to illustrate the process of shaping their "Western Confucian" image and their adaptation to Chinese culture. Subsequently, the focus of this paper will be shifted to exploring the modes of interactions between the Spanish Franciscans and the Chinese literati. The author argues that the interactions between the two sides were primarily power-based. These power-based interactions entailed establishing connections with officials and leveraging their influence to safeguard missionary activities. It can be further categorized into three types. The first type involved socializing with officials, while the second type included interaction with Jesuit officials in court, and the third type was direct involvement in official positions. In their engagement with literati, the Franciscans demonstrated a thorough understanding of and adaptation to Chinese societal and cultural norms, thereby facilitating the development of their mission. [ABSTRACT FROM AUTHOR]

This article demonstrates that objects, more specifically the trans usage of objects that disrupted and rearticulated the normative alignment of objects, sexed bodies and gender embodiments, served a formative role in helping male‐assigned individuals to cross gender boundaries and achieve trans‐femininity in Ming‐Qing China. The examined objects include the foot‐binding cloth for the feminine bodily image of bound feet, the embroidery needle for 'womanly work' and concealing underwear for feminine, penetrated sexual acts. This object‐oriented heuristic offers a new culturally specific approach to trans history beyond identarian frameworks and foregrounds the material multiplicity of trans formations and embodiments in Ming‐Qing China. [ABSTRACT FROM AUTHOR]

This paper explores the origin and role of the Buddhist taxonomic category "zong 宗" ("sect" or "school") in the formation of modern Buddhism in China. It does so by examining a highly significant late-Qing Buddhist text titled Ba-zong-er-xing 八宗二行 (Eight Schools and Two Practices), which the author discovered recently in Japan. Authored by the 19th-century Manchu bannerman official Hešeri Rushan 赫舍裏如山, Eight Schools and Two Practices had a direct influence on the prominent Chinese lay Buddhist Yang Wenhui (1837–1911)'s Shi-zong-lue-shuo 十宗略说 (Brief Outline of the Ten Schools) (1913), which subsequently became the most important narrative model, known as the ten-school model, for describing Chinese Buddhist history in modern times. Historians have long recognized that Yang Wenhui's Brief Outline of the Ten Schools (1913) was influenced by the medieval Japanese text hasshū kōyō 八宗綱要 (Essentials of the Eight Schools) composed by the 13th-century Japanese monk Gyōnen. Identifying, in detail, Hešeri Rushan's influence on Yang Wenhui sheds light on how a narrative model for Buddhism in its national form grew out of trans-national intellectual sharing and interactions, and how Chinese Buddhism emerged from the interactive and mutually enabling Sino-Japanese discursive field of the 19th century. Gyōnen, Rushan, and Yang Wenhui all used the category zong, referring to both doctrine and school/sect, to organize narratives of Buddhist history. Their uses were, however, different. Gyōnen's conception of zong (shū in Japanese) was fixed and exclusive, whereas zong for Rushan and Yang meant more of a mobile, nonexclusive identity. Without knowledge of Japanese Buddhism, Rushan made creative use of zong for describing the history and current condition of Chinese Buddhism, thereby superseding the traditional framework of lineage, doctrine, and precept, or zong 宗, jiao 教, lu 律. Rushan's zong provided the necessary prerequisite knowledge for Yang Wenhui to understand Gyōnen's theories, which he studied for constructing his own historical narrative and vision for modern Buddhism. [ABSTRACT FROM AUTHOR]

This study provides a fresh understanding of the historical development shaping comparative studies between Christianity and Mohism during the late Qing and Republican China periods. It traces the foundation of these studies to both the idea that 'Western knowledge originated from Mohism' and to the Mohism studies by the Qian-Jia School 乾嘉學派 during the Qing Dynasty. This study spotlights the groundbreaking proposition by Zou Boqi 鄒伯奇 in 1844, who first suggested that Western knowledge, including Christianity, originated from Mohism, a widely accepted view among Chinese literati. The article then explores the paradigm shift initiated by Liang Qichao 梁啓超, influenced by Sun Yirang 孫詒讓 and his Mozi Jiangu 墨子閒詁 (The Works of Mozi with Commentaries), which broadened the comparative perspective. The significant influence of the Qian-Jia School's Mohism studies on both Chinese and non-Chinese scholars is analyzed, along with the diverse approaches and contributions of key figures like Joesph Edkins, James Legge, Ernst Faber, Alexandra David-Néel, Daisetz Teitaro Suzuki, Huang Zhiji 黃治基, Wang Zhixin 王治心, Zhang Chunyi 張純一, Mei Yi-Pao 梅貽寶, and Wu Leichuan 吳雷川. The article underscores these scholarly groups' dynamic interplay and varied objectives, shaping a vibrant and contentious academic landscape. [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 article focuses on the introduction of Catholic religious paintings in China from the late Qing Dynasty to the early Republic. Topics include the distinctive characteristics and substantial output of the Fu Jen Catholic paintings, the reasons behind the university's pursuit of traditional Chinese Christian paintings, and the differing reactions from Western and Chinese audiences rooted in cultural and theological disagreements on visual modernity and syncretism.

This article examines four typologies of secularism in China from the sixteenth century onward, through an analysis of the triadic relationship between the secular, religious, and superstitious. These notions have been considered to be derived from the particular intellectual and political history of the West, but this fails to grasp the complexity of non-Western belief systems. This article proposes to instead examine how Chinese policymakers and intellectuals actively fabricated religion and produced secularization. It goes beyond a simple rebuttal of Eurocentrism, and arguments regarding the mutual incomparability of Western and Chinese experiences of secularization. It distinguishes four typologies of secularism that emerged successively in China: (1) the reduction of Christianity from the sixteenth century to the 1900s; (2) the Confucian secular and (3) atheist secular that were conceptualized, respectively, by royalist reformers and anti-Manchu revolutionaries during the final two decades of the Qing Dynasty; and (4) the interventionist secularism pursued by the Republican and the Communist regimes to strictly supervise and regulate religious beliefs and practices. The paper argues that, if secularization is indeed Christian in nature, secularism and religion were not imposed in China under Western cultural and political hegemony. Instead, the Christian secular model was produced in China mainly via pre-existing cultural norms and the state's ad hoc political needs, making the Christian secularism itself a multipolar phenomenon. [ABSTRACT FROM AUTHOR]

Guangzhou is located in the southern part of China, near the South China Sea, belongs to Guangdong Province. It serves as China's southern gateway to the world and was historically called "The Southern Treasure of the Emperor", playing a crucial role in China's maritime trade history. Throughout Chinese history, Guangzhou underwent several cycles of "closure" and "opening", policies that severely impacted trade. However, foreign merchants never ceased to request permission from the Chinese government to engage in trade. In 1757, Emperor Qianlong decreed Guangzhou as the only one official port for foreign trade. This edict led to the establishment of the one port trading system in Guangzhou, as the Qing government aimed to counter foreign influences and local uprisings while maintaining a self-sufficient small-scale agricultural economy. Western nations and their traders sought opportunities within this system, aspiring to expand trade to other regions of China, even the inland areas. The exclusive status of Guangzhou as China's only one trading port persisted until 1842, following the defeat of the Qing government in the Opium War against Britain, the Nanjing Treaty was signed. This treaty opened Guangzhou, Shanghai, Ningbo, Fuzhou, and Xiamen as trading ports, bringing an end to the one port trading system. The reasons and impacts of the establishment of this system have not been comprehensively analyzed to date. Therefore, this paper based on historical archives, analyzes both the direct and underlying reasons behind Emperor Qianlong's decision and elucidates the system's diverse impacts on various aspects of Qing-era China. [ABSTRACT FROM AUTHOR]

Every year in the fall, the Qing emperor was to preside over ceremonies during which he was asked to check-mark the names of criminals condemned to capital punishment whom he reckoned were to be executed. This article proposes an understanding not only of these check-marking ceremonies under the Qing dynasty, but also of the judicial rehearing procedure of all capital punishment criminal cases, known as the Court and Autumn Assizes. Based on materials drawn from the Qing central archives and other institutional sources, as well as on the information found in officials' diaries, this study provides a dynamic and evolutionary analysis of the Assizes and the check-marking ceremonies, highlighting their position as central features of the imperial judicial process. By detailing their successive changes, it seeks to unravel their highly complex and bureaucratic nature and to better assess the exact role played by the various institutional actors they called into play, first and foremost, the sovereign. [ABSTRACT FROM AUTHOR]

This study analyzed the morphology of the legs and feet of chairs from the Ming and Qing Dynasties using statistics, and the characteristics were presented in a data-based mode. With furniture samples collected from museums as the research object, the performances of chair legs and feet from different periods were analyzed using cross-analysis and chi-square tests in SPSS 22.0 to find out if statistically significant differences existed. The results show no statistical difference in the morphology of legs and feet of side chairs and armchairs with curved rest from different periods, while significant statistical differences exist in the morphology of the legs and feet of armchairs from the Ming and Qing Dynasties. The results can help people to have a deeper understanding of the legs and feet of chairs from the Ming and Qing Dynasties on a rational cognition level and provide new ideas for the inheritance and innovation of such furniture in modern times. [ABSTRACT FROM AUTHOR]

The Kangxi Southern Inspection Tours strengthened the Qing Dynasty's control over Jiangnan Buddhism, thereby promoting the standardization and officialization of Jiangnan temples and externalizing imperial power through images and physical space. Taking Jinshan Temple as an example, this study combines spatial analysis of architecture and image analysis used by art historians to examine the transformation between physical and pictorial spaces in Jinshan Temple, revealing the spatial operation of imperial power. The intervention of imperial power sparked the space reconstruction of Jinshan Temple through a process of "merger-occupation-infiltration-adjustment". Thus, the control measures of Kangxi are revealed, including the emphasis on the geographical significance of the temple, space occupation of royal buildings, change in landscape, and the adaptation of monks by adjusting their imagination of the sacred space. By determining the spatial reconstruction, we observe that the spatial strategy of power reflects Kangxi's religious attitude toward Buddhism of "neither promoting nor suppressing, but treating it reasonably" 朕惟置之焉能有無之間, which may enrich our understanding of the influence of Kangxi's Southern Inspection Tours on Jiangnan's religious space. [ABSTRACT FROM AUTHOR]

Objective/Context: This article investigates how seven literati of the Ming (1368-1644) and Qing (1644-1912) dynasties, whose works deal with geography and world history, interacted and negotiated with Jesuit narratives in Chinese on the "discovery" and evangelization of America. The main objective is to elucidate the differences and similarities between the two sides' perspectives on these events, highlighting the role that the encounter between the universalisms of Confucianism and Christianity played in these interpretations. Methodology: A textual, comparative and historical-contextual analysis is employed, framed by Nicolas Standaert and Pingyi Chu's theoretical perspectives on the Sino-Jesuit encounter as a case of cultural exchange. In it, knowledge was negotiated through the selection of textual elements and the restructuring of conceptual frameworks. In doing so, narratives about the "discovery" and evangelization of America in Chinese works are contrasted with Jesuit descriptions of these events and the contextual factors that determined both the creation of these narratives by the Jesuit mission in China and the reactions of Chinese scholars to them are investigated. Originality: This pioneering study examines the reception of early Chinese accounts of Euro-American contacts. It seeks to contribute to the field of Chinese and global intellectual history by discussing how a foundational event of the European worldview was re-signified from various perspectives by Chinese scholars interested in incorporating the «discovery» narratives into their works and integrating them into the path of Confucian universalism. Conclusions: The narratives about these events were discursive spaces where disputes and convergences between the civilizing projects of Christianity and Confucianism took place. The way in which Chinese scholars integrated them into their works reflects how the transmission of the Christian worldview was subjected to local frameworks that reinforced ethnocentric ideas. Inevitably, this led to the emergence of alternatives to European interpretations of American history in late imperial China. The latter challenged the European ethnocentric gaze, primarily grounded in the "discovery" and evangelization of America, and shows how Chinese scholars used their narratives to defend their civilization. [ABSTRACT FROM AUTHOR]

The traditional pigments of Chinese painting are taken from the mountains and used naturally, and have been accompanied by the artistic belief of the Chinese nation in the unity of nature and man for thousands of years. These crystal brilliant, stable nature of inorganic ores and organic plants, in the hands of ancient Chinese painters fine grinding, dense glue, layer by layer dye, transformed into the Chinese people's imitation and expression of all things color. From the initial direct selection of color substances from nature as pigments to the peak of heavy color painting in Tang and Song dynasties, the traditional pigments of Chinese painting embodied too much time value and human wisdom. The material of these mountains contains the painting stories of human beings, which is ancient and new and unchanged, and is an important and irreplaceable carrier of ancient information. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, modern organic synthetic pigments were brought from the West by Western missionaries. These bright colors and simple colors quickly captured the hearts of people and had the meaning of competing for national colors. However, the nature of organic synthetic pigments is very unstable, and structural changes will occur in many cases such as high temperature, direct exposure, climate, acid and base changes, resulting in a large degree of discoloration and decolorization. At present, raw materials of traditional Chinese painting are scarce and techniques are lost, so it is urgent to get extensive attention and rescue from the painting circle. [ABSTRACT FROM AUTHOR]

Locust plagues and tidal disasters are primary natural hazards in China's eastern coastal regions, yet their interrelationship remains unclear. This study, drawing on historical documents from the Ming and Qing dynasties (1368–1911 AD), focuses on Zhejiang Province and its Hangzhou Bay coastline, areas typically affected by tidal disasters. Employing advanced quantitative analysis and spatiotemporal models, the research aims to reveal the mechanisms behind tidal disasters and their impact on locust population dynamics. The findings indicate a limited spatiotemporal correlation between locust plagues and tidal or drought disasters but a significant association with flooding. The relationship between locust infestations and floods is notably strong in the unique geographical context of Hangzhou Bay's northern shore. The 'hydromarginal' nature of the north coast creates an ideal habitat for locusts. This study pioneers in identifying flooding as a crucial mediator between tidal disasters and locust plagues, shedding light on the 'typhoon-tidal-flood-locust' disaster sequence and offering new insights into understanding and mitigating natural disasters in the region. In this study, we primarily employ a quantitative methodology, utilizing advanced data analysis and sophisticated spatiotemporal modeling to investigate the interplay between locust plagues and tidal disasters. Although some progress has been made in the study of historical natural disasters, systematic studies of the relationship between tidal floods and locust breeding sites along the east coast of China during the Ming and Qing dynasties are still scarce. This study fills this gap by employing advanced GIS and time series analysis techniques, combining traditional historical documentary studies with modern scientific methods and providing a new methodological approach to the analysis of historical disaster patterns. [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]

"Amorous histories" represent an unofficial historical tradition that once served as a legitimate mechanism for narrating same-sex desire in Chinese culture. This tradition not only celebrated love (qing) but also explored obsession (pi) within the Chinese context. This article reexamines the erotic arts, including notes and erotic fictions, that constituted the narrative mechanism of amorous histories to rethink the intricate stance of both praise and critique towards male love during the Ming and Qing dynasties. The analysis reveals how these texts repeatedly employed a narrative tactic of combining enticement and moral suasion to represent male love. While legitimizing male love, these representations were simultaneously regulated by the moral norms of official histories. However, during the late Qing and early Republican era, the tradition of amorous histories began to wane and eventually gave way to the emergence of pathological narratives under the guise of "sexual histories" in modern China. Within the discourse of sexual histories, the tradition of praising qing and pi was substituted by Western-influenced "the science of sexuality," which pathologized same-sex desire. This article traces the changes in the meaning of "pi," which underwent a phase of non-pathologized development in Ming and Qing dynasties, before being pathologized by May 4th literati. Finally, this article analyses the impact of the replacement of amorous histories with pathologized sexual histories on the debates over homosexuality between Hu Qiuyuan and Yang Youtian in modern China. It shows how changes in historical narratives influenced early twentieth century perceptions of same-sex desire. [ABSTRACT FROM AUTHOR]

This article highlights a source from the Qing dynasty, published under various titles such as Shangyu tiaoli, Buyuan tiaozou, Gebuyuan tiaolice, and others, and describes its significance and usefulness for the study of Qing history. These publications are official compilations of regulations and legislations from the Qing government that were printed by various provincial governments since the early Qianlong reign to the end of the dynasty. They provide an alternative source for government documents that are sometimes missing from other official compilations such as the Veritable Records and the Shangyu dang. They also preserve elements of inter-agency communication that are routinely excised from these other official compilations, thus offering the historian a useful addition to the repository of sources that one could consult for various topics. [ABSTRACT FROM AUTHOR]

In practice, correction fluid to mask text errors has been continuously in demand since papers began to be predominantly used since the late fourth century AD in ancient China. However, research on the trajectory of correction fluid composition has been largely overlooked and has not been revealed currently. In this study, a multianalytical approach was used to investigate a thin whiteout layer, used as correction fluids applied in 1890, on a book page from the famous Imperial Encyclopedia (1726 bronze‐type repaint version). The results showed that the white layer was composed of hydrocerussite ((PbCO3)2·Pb (OH)2) in mixture with plant oil and a tiny portion of calcium carbonate, which had been applied to conceal the originally printed Chinese characters upon which they were rewritten in preparing photographic negatives for reprinting using photolithography. The analysis results also suggest that lead white was likely domestically made using a local lead ore source by the wet synthetic process. Considering the prolonged use of orpiment (As2S3) as a correction fluid ingredient in Chinese tradition, a trajectory to lead white suggests not only advances in pulping and papermaking technology but also a shift in cultural habits and aesthetic psychology in the late Qing Dynasty. [ABSTRACT FROM AUTHOR]

Mount Wutai, China's earliest Buddhist center, dating to the Han Dynasty's first century (206 BCE–220 CE), boasts over a hundred monasteries, numerous monuments, and ruins, drawing global pilgrims and travelers. Over its long history, as the geographical focus of imperial support shifted, the ideological underpinnings for structuring the monastic habitation on Mount Wutai also underwent a transformation, consequently altering the pilgrimage paths, monasteries, and mountain gates. However, there remains a paucity of understanding regarding these changes. This paper aims to map out the representative dynamic pilgrimage routines influenced by geo-capital shifts and to reveal the changeable Buddhist ideology of monasticism on Mount Wutai. Through archival studies on ancient transcripts and maps, the interpretation selects the three most significant periods in the development of Buddhism in Mount Wutai: the Northern Wei (386–534 CE), the Sui Tang (581–907 CE), and the Qing Dynasty (1630–1912 CE). The article indicates that Mount Wutai's monastic strategies have transformed significantly, progressing from free monasticism to the Mañjuśrī maṇḍala mode and ultimately adopting a predominant Tibetan Buddhist character. These changes were driven by shifting Buddhist ideologies and heritage, with pilgrimages and monastic construction responding to these shifts. [ABSTRACT FROM AUTHOR]

Ancient Chinese wedding ceremonies served as the solemn rituals for witnessing and establishing marriage, primarily aimed at forging kinship ties between two families and fulfilling the obligations of ancestral worship and lineage continuation. Within the Confucian tradition, the family and the state have always been interconnected, and ancient Chinese weddings, dating back to the Zhou dynasty, have maintained the fundamental order of both the family and society. This article primarily explores the influence of Confucianism on ancient Chinese wedding rituals and customs, as well as the historical evolution of wedding ceremonies throughout different dynasties. According to Confucian principles, the main procedures of the wedding ceremony included six rituals: "Nacai" (proposal ceremony), "Wenming" (name inquiry), "Naji" (betrothal gift ceremony), "Nazheng" (gifts for the selection of the auspicious day), "Qingqi" (asking for a wedding date), and "Qinying" (wedding procession). These six rituals were collectively known as the "Six Rites". This study found that, during the Qin and Han dynasties and the Tang and Song dynasties, there were two important stages of reform of wedding ceremonies under the influence of Confucianism. The "Six Rites" were streamlined and merged into the "Three Rites", gradually becoming more secular. During the Ming and Qing dynasties, the interaction between Confucianism and the wedding ceremony weakened until the Republic of China period, when traditional constraints were broken. It is evident that the "Six Rites" have continued to serve as the template of traditional Chinese weddings and have been the important basis for subsequent wedding customs. [ABSTRACT FROM AUTHOR]

As a common cultural phenomenon in China and the West, alchemy not only embodies the scientific spirit of people before modern times, but also contains certain religious beliefs, and even creates unrealistic secular imaginations. When Catholicism entered China during the Ming and Qing dynasties, the Chinese also projected this imagination of alchemy onto the missionaries. Behind this imagination actually lays the strong interest of Chinese people in the financial resources of the missionaries. On the one hand, there is the historical influence of traditional Chinese alchemy, and on the other hand, there is the curiosity caused by the lifestyle of missionaries in China. The imagination of alchemy not only reflects a historical aspect of the encounter between China and the West during the Ming and Qing dynasties, but also reflects a complex social psychology of mixed curiosity, panic, suspicion, and vigilance in pre-modern China. [ABSTRACT FROM AUTHOR]

The Tengongzhalan Cemetery in Beijing, China is the final resting place of Matteo Ricci, an Italian missionary who brought Western mathematics and science to China in the 17th century. The cemetery is a unique blend of Chinese and Western cultures, with tombstones and monuments reflecting both traditions. Over the years, the cemetery has been destroyed and restored, but it still stands as a historical witness to the cultural exchange between East and West. The article also mentions the tombstones of other Western missionaries buried there, highlighting the impact of their collaborations with Chinese officials Xu Guangqi and Li Zhizao on the development of science, technology, and culture in China during the Qing Dynasty. [Extracted from the article]

For over a century after the Qing Dynasty, Chinese migration to the Malay Peninsula surged, bringing challenges of new geography, diverse cultures, languages, politics, and survival. Despite this, Malaysian Chinese remained deeply rooted in their cultural traditions. Among these, Chinese music played a crucial role, serving as a spiritual anchor for Malaysian Chinese, carrying the essence of their heritage. Through surveys and interviews with teachers and students from Malaysian-Chinese secondary schools, the author investigated how Malaysian Chinese Music, exemplified by the widely embraced "Chuan Deng," holds such a profound cultural identity function within the community and its underlying principles. [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]

With the advent of the era of Industry 4.0, big data and the Internet of Things came into being. The rise of big data and the Internet of Things has had an impact on all walks of life. The development of big data and the Internet of Things provides an opportunity for the evolution of street form. With the rapid development of smart cities, the street shape is also changing more and more towards the direction of intelligence. Taking Chunxi Road in Chengdu as an example, this paper studies the generation mechanism of street morphology. The factors influencing the generation of street form are divided into two categories: (1) legal factors. (2) Architectural design factors. By building a model, the article quantitatively analyzes the impact of these two types of factors on street form. At the same time, the article conducts an in-depth study on the evolution of ancient Chinese street morphology. The ancient Chinese street form is divided into four stages, namely the Tang and Song Dynasties, the Yuan, Ming and Qing Dynasties, the Late Qing Dynasty, and the founding of New China. The influencing factors of street shape are divided into four categories, namely, the influence of commodity economy, the influence of foreign culture, the influence of building materials, and the influence of traffic. This paper elaborates the influence mechanism of these four factors on the street form in China. The article finally puts forward the development trend of my country's future street form, and points out that the evolution of my country's street form will develop in the direction of intelligence, and intelligent transportation, intelligent garbage classification system, etc. will be applied. The number of brick-and-mortar stores in my country's street layout may decrease. [ABSTRACT FROM AUTHOR]

• Chinese 'silk and metal carpets' from imperial workshops examined for the first time. • Characterisation of the mechanical production of the metal threads. • Ancient examples of brass coated metal threads. • Comparison with the Asian production of metal carpets outside of China. Chinese 'silk and metal carpets,' mainly made by imperial workshops during the Qing Dynasty (1644–1911), are very luxurious and until now have not scientifically and technically been investigated. From the point of view of materials, a typical feature is the presence of metal threads which embellish backgrounds or details with a precious and golden appearance. Metal threads from a wide number of Chinese carpets were non-destructively investigated by XRF, while an in-depth characterization by SEM-EDS was performed on samples from few carpets. Although copper is always the main constituent of very thin metallic strips wound around a core of silk, the obtained results showed three types of strips, different in terms of materials and/or methods of making. The most frequent typology, covering over 85% of the investigated carpets, derives from the drawing of brass-plated copper wires. The obtained results are read and interpreted according to geographical and historical context, pertaining to the metallurgy and the making of metal threads, extending the comparisons also to other contexts in eastern and western world, during the ages. [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]

Situated in the village of Lama Temple on the eastern bank of the Wulie River in Chengde, Puren Temple stands as one of the few remaining royal temples of great importance from the Kangxi era (1662–1722 AD). This ancient edifice has greatly contributed to the advancement of our comprehension regarding the art of royal temple painting. The present study undertakes a comprehensive analysis and identification of nine samples obtained from the beams and ceiling paintings within the main hall of Puren Temple. Furthermore, a systematic examination of their mineral pigments and adhesives is conducted. The findings from polarized light microscopy (PLM), energy-type X-ray fluorescence spectrometer (ED-XRF), micro-Raman spectroscopy (m-RS), and X-ray diffractometer (XRD) analyses reveal that the pigments present in the main hall beams of Puren Temple are cinnabar, lead white, lapis lazuli, and lime green, while the pigments in the ceiling paintings consist of cinnabar, staghorn, lead white, lapis lazuli, and lime green. The use of animal glue as a binder for these pigments on both the main hall beams and ceiling paintings is confirmed via pyrolysis-gas chromatography–mass spectrometry (Py-Gc/Ms) results. These findings hold significant implications for the future restoration of Puren Temple, as they provide valuable guidance for the selection of appropriate restoration materials. [ABSTRACT FROM AUTHOR]