Defining Chu

Defining Chu begins with an overview of the historical geography, an outline of archaeological evidence for Chu history, and an appreciation of Chu art. Following chapters examine issues of state and society: the ideology of the ruling class, legal procedures, popular culture, and daily life. The final section surveys Chu religion and literature and includes an analysis of the Chuci, the great anthology of Chu poetry, and its impact on mainstream Chinese literature. A translation of the Chu Silk Manuscript¿ is appended. This document has intrigued scholars since its discovery in Changsha some sixty years ago. The inclusion of this rare and difficult text, available for the first time in an effective and accessible translation, will make this volume indispensable to students and scholars of early Chinese history and thought.

Sources show Qu Yuan (?340–278 BCE) was the first person in China to become famous for his poetry, so famous in fact that the Chinese celebrate his life with a national holiday called Poet's Day, or the Dragon Boat Festival. His work, which forms the core of the The Songs of Chu, the second oldest anthology of Chinese poetry, derives its imagery from shamanistic ritual. Its shaman hymns are among the most beautiful and mysterious liturgical works in the world. The religious milieu responsible for their imagery supplies the backdrop for his most famous work, Li sao, which translates shamanic longing for a spirit lover into the yearning for an ideal king that is central to the ancient philosophies of China. Qu Yuan was as important to the development of Chinese literature as Homer was to the development of Western literature. This translation attempts to replicate what the work might have meant to those for whom it was originally intended, rather than settle for what it was made to mean by those who inherited it. It accounts for the new view of the state of Chu that recent discoveries have inspired.

Elegies of Chu (in Chinese, Chuci), one of the two surviving collections of ancient Chinese poetry, is a key source for the whole tradition of Chinese poetry. Because the elegies contain passionate expressions of political protest as well as shamanistic themes of magic spells and wandering spirits, they present an alternative face of early Chinese culture; one that does not align with orthodox Confucianism. This translation employs literary English devices in order to emphasise the original structure of these Chinese poems. It also examines the extraordinarily vivid diction of the source texts, including of onomatopoeia, ornate descriptions, exotic flowers, dramatic landscapes, metaphors and startling similes. This translation will be based on the original anthology compiled in the Han dynasty by Wang Yi (2nd century CE), and contains a selection of poems that were collected from the 3rd century BCE through the Han dynasty. The anthology provides readers with an understanding of Chinese literature and its evolution from free-spirited, mythico-religious songs to the more formal, polished style of the Han court.

China has become accessible to the west in the last twenty years in a way that was not possible in the previous thirty. The number of westerners travelling to China to study, for business or for tourism has increased dramatically and there has been a corresponding increase in interest in Chinese culture, society and economy and increasing coverage of contemporary China in the media. Our understanding of China’s history has also been evolving. The study of history in the People’s Republic of China during the Mao Zedong period was strictly regulated and primary sources were rarely available to westerners or even to most Chinese historians. Now that the Chinese archives are open to researchers, there is a growing body of academic expertise on history in China that is open to western analysis and historical methods. This has in many ways changed the way that Chinese history, particularly the modern period, is viewed. The Encyclopedia of Chinese History covers the entire span of Chinese history from the period known primarily through archaeology to the present day. Treating Chinese history in the broadest sense, the Encyclopedia includes coverage of the frontier regions of Manchuria, Mongolia, Xinjiang and Tibet that have played such an important role in the history of China Proper and will also include material on Taiwan, and on the Chinese diaspora. In A-Z format with entries written by experts in the field of Chinese Studies, the Encyclopedia will be an invaluable resource for students of Chinese history, politics and culture.

This book is a study of comparative philosophy and theology. The themes are the critical issues arising from the modern interpretation of Confucian doctrine as they confront the Christian beliefs of the nineteenth and twentieth centuries.

This book employs a biographical approach to comprehensively study a set of Tang era-tomb guardian figurines, known as the Four Gods (Sishen), comprising a pair of warriors (Dangkuang and Dangye) and a pair of hybrid beasts (Zuming and Dizhou). These objects were exclusively used by officials until 841 AD and were mainly found in capitals then. They disappeared in the 9th century AD. The book is divided into three sections. Part one focuses on their symbolism through names, images, burial contexts, associated ritual regulations, and the interplay of all of these, revealing their dual significance – apotropaic and political, tied to ritual propriety, nuo exorcism, yin-yang divination, and more. Part two explores their connection to other supernatural tomb figurines in the early and middle Tang periods, challenging previous theories and highlighting regional standardization. Additionally, this part delves into the Four Gods’ regulated production, government oversight, and role in funerary processions. Part three examines their disappearance due to shifting views on the afterlife and diminishing national power. It also explores changes in the usage of related tomb objects after the Tang era, focusing on protective functions and spatial concepts.

When should a woman disobey her father, contradict her husband, or shape the policy of a ruler? According to the Lienü zhuan, or Categorized Biographies of Women, it is not only appropriate but necessary for women to offer counsel when fathers, husbands, sons, and rulers stray from virtue. The earliest Chinese text devoted to the moral education of women, the Lienü zhuan was compiled by Liu Xiang (79–8 B.C.E.) at the end of the Han dynasty (202 B.C.E.–9 C.E.) and recounts the deeds of both virtuous and wicked women. Informed by early legends, fictionalized historical accounts, and formal speeches on statecraft, the text taught generations of Chinese women to cultivate filial piety and maternal kindness and undertake such practices as suicide and self-mutilation to preserve chastity and reform wayward men. The Lienü zhuan’s stories inspired artists for a millennium and found their way into local and dynastic histories. An innovative work for its time, the text remains a critical tool for mapping women’s social, political, and domestic roles at a formative time in China’s development.