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A revisionist analysis of the major sources for Song history, explaining their master narrative as the product of political tension.
During the Song dynasty (960-1278), some of China's elite found an elegant and subtle means of dissent: landscape painting. By examining literary archetypes, painting titles, contemporary inscriptions, and the historical context, Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed.
Huizong was an exceptional emperor who lived through momentous times. A man of many talents, he wrote poetry and created his own distinctive calligraphy style; collected paintings, calligraphies, and antiquities on a large scale; promoted Daoism; and involved himself in the training of court artists, the layout of gardens, and reforms of music and medicine. The quarter century when Huizong ruled is just as fascinating. The greatly enlarged scholar-official class had come into its own but was deeply divided by factional strife. The long struggle between the Chinese state and its northern neighbors entered a new phase when Song proved unable to defend itself against the newly emergent Jurchen state of Jin. Huizong and thousands of members of his family and court were taken captive, and the Song dynasty had to recreate itself in the South.
"The occupation of the northern half of the Chinese territories in the 1120s brought about a transformation in political communication in the south that had lasting implications for imperial Chinese history. By the late eleventh century, the Song court no longer dominated the production of information about itself and its territories. Song literati gradually consolidated their position as producers, users, and discussants of court gazettes, official records, archival compilations, dynastic histories, military geographies, and maps. This development altered the relationship between court and literati in political communication for the remainder of the imperial period. Based on a close reading of reader responses to official records and derivatives and on a mapping of literati networks, the author further proposes that the twelfth-century geopolitical crisis resulted in a lasting literati preference for imperial restoration and unified rule.Hilde De Weerdt makes an important intervention in cultural and intellectual history by examining censorship and publicity together. In addition, she reorients the debate about the social transformation and local turn of imperial Chinese elites by treating the formation of localist strategies and empire-focused political identities as parallel rather than opposite trends."
This book is the winner of the 2020 Joseph Levenson Pre-1900 Book Prize, awarded by the Association for Asian Studies. In Song Dynasty Figures of Longing and Desire, Lara Blanchard analyzes images of women in painting and poetry of China’s middle imperial period, focusing on works that represent female figures as preoccupied with romance. She discusses examples of visual and literary culture in regard to their authorship and audience, examining the role of interiority in constructions of gender, exploring the rhetorical functions of romantic images, and considering connections between subjectivity and representation. The paintings in particular have sometimes been interpreted as simple representations of the daily lives of women, or as straightforward artifacts of heteroerotic desire; Blanchard proposes that such works could additionally be interpreted as political allegories, representations of the artist’s or patron’s interiorities, or models of idealized femininity.
Educated men in Song-dynasty China (960–1279) traveled frequently in search of scholarly and bureaucratic success. These extensive periods of physical mobility took them away from their families, homes, and native places for long periods of time, preventing them from fulfilling their most sacred domestic duty: filial piety to their parents. In this deeply grounded work, Cong Ellen Zhang locates the tension between worldly ambition and family duty at the heart of elite social and cultural life. Drawing on more than two thousand funerary biographies and other official and private writing, Zhang argues that the predicament in which Song literati found themselves diminished neither the importance of filial piety nor the appeal of participating in examinations and government service. On the contrary, the Northern Song witnessed unprecedented literati activity and state involvement in the bolstering of ancient forms of filial performances and the promotion of new ones. The result was the triumph of a new filial ideal: luyang. By labeling highly coveted honors and privileges attainable solely through scholarly and official accomplishments as the most celebrated filial acts, the luyang rhetoric elevated office-holding men to be the most filial of sons. Consequently, the proper performance of filiality became essential to scholar-official identity and self-representation. Zhang convincingly demonstrates that this reconfiguration of elite male filiality transformed filial piety into a status- and gender-based virtue, a change that had wide implications for elite family life and relationships in the Northern Song. The separation of elite men from their parents and homes also made the idea of “native place” increasingly fluid. This development in turn generated an interest in family preservation as filial performance. Individually initiated, kinship- and native place-based projects flourished and coalesced with the moral and cultural visions of leading scholar-intellectuals, providing the social and familial foundations for the ascendancy of Neo-Confucianism as well as new cultural norms that transformed Chinese society in the Song and beyond.
With commentary and annotations throughout, Ming Dynasty Tales: A Guided Reader presents for the first time in English 10 key stories from China's Ming Dynasty era. Casting new light on this significant period in Chinese literary history, these tales bring Ming era China vividly to life, from its chaotic beginnings to its imperial heyday. As well as bearing witness to social change across the 100-year life of the Yuan Dynasty from 1260 to 1368, these tales tackle key themes of war and peace and Confucian values of loyalty, filiality, chastity, and righteousness.
This book offers a comprehensive overview of the crucial second stage in the evolution of Chinese medicine by examining the changes during the pivotal era of the Song dynasty.
Just over a thousand years ago, the Song dynasty emerged as the most advanced civilization on earth. Within two centuries, China was home to nearly half of all humankind. In this concise history, we learn why the inventiveness of this era has been favorably compared with the European Renaissance, which in many ways the Song transformation surpassed. With the chaotic dissolution of the Tang dynasty, the old aristocratic families vanished. A new class of scholar-officials—products of a meritocratic examination system—took up the task of reshaping Chinese tradition by adapting the precepts of Confucianism to a rapidly changing world. Through fiscal reforms, these elites liberalized the economy, eased the tax burden, and put paper money into circulation. Their redesigned capitals buzzed with traders, while the education system offered advancement to talented men of modest means. Their rationalist approach led to inventions in printing, shipbuilding, weaving, ceramics manufacture, mining, and agriculture. With a realist’s eye, they studied the natural world and applied their observations in art and science. And with the souls of diplomats, they chose peace over war with the aggressors on their borders. Yet persistent military threats from these nomadic tribes—which the Chinese scorned as their cultural inferiors—redefined China’s understanding of its place in the world and solidified a sense of what it meant to be Chinese. The Age of Confucian Rule is an essential introduction to this transformative era. “A scholar should congratulate himself that he has been born in such a time” (Zhao Ruyu, 1194).
More than 800,000 copies in print! From the author of critically acclaimed and bestselling memoir Falling Leaves, this is a poignant and moving true account of her childhood, growing up as an unloved daughter in 1940s China. A Chinese proverb says, "Falling leaves return to their roots." In her own courageous voice, Adeline Yen Mah returns to her roots to tell the story of her painful childhood and her ultimate triumph in the face of despair. Adeline's affluent, powerful family considers her bad luck after her mother dies giving birth to her, and life does not get any easier when her father remarries. Adeline and her siblings are subjected to the disdain of her stepmother, while her stepbrother and stepsister are spoiled with gifts and attention. Although Adeline wins prizes at school, they are not enough to compensate for what she really yearns for -- the love and understanding of her family. Like the classic Cinderella story, this powerful memoir is a moving story of resilience and hope. Includes an Author's Note, a 6-page photo insert, a historical note, and the Chinese text of the original Chinese Cinderella. A PW BEST BOOK OF THE YEAR AN ALA-YALSA BEST BOOK FOR YOUNG ADULTS “One of the most inspiring books I have ever read.” –The Guardian