Han shu bu zhu.

Mode of access: Internet.

Transmitting Chinese Medicine: Changing Perceptions of Body, Pathology, and Treatment in Late Imperial China

Historians of Chinese medicine acknowledge the plurality of Chinese medicine along both synchronic and diachronic dimensions. Yet, there remains a tendency to think of tradition as being defined by some unchanging features. The Chinese medical body is a case in point. This is assumed to have been formalised by the late Han dynasty around a system of internal organs, conduits, collaterals, and associated body structures. Although criticism was voiced from time to time, this body and the micro/ macrocosmic cosmological resonances that underpin it are seen to persist until the present day. I challenge this view by attending to attempts by physicians in China and Japan in the period from the mid 16th to the late 18th century to reimagine this body. Working within the domain of cold damage therapeutics and combining philological scholarship, empirical observations, and new hermeneutic strategies these physicians worked their way towards a new territorial understanding of the body and of medicine as warfare that required an intimate familiarity with the body’s topography. In late imperial China this new view of the body and medicine was gradually re-absorbed into the mainstream. In Japan, however, it led to a break with this orthodoxy that in the Republican era became influential in China once more. I argue that attending further to the innovations of this period—commonly portrayed as one of decline—from a transnational perspective may help to go beyond the modern insistence to frame East Asian medicines as traditional.

Lighter than Tai

YEAR: 2008 ROLE: Performer FORMAT: Live Art Event at Tiananmen Square Beijing, China (3 hours) and Later on Summit of Mt. Tai Shan, Shandong Province, China (6 hrs + 3 hrs). WITH: Solo WHAT: In the Hall of Reverence on Tiananmen Square, Beijing Mao Zedong's body lies in state surrounded by flowers and draped with a Red Flag of Communist China. His casket with a glass top lies on a black stone from Mt. Tai, reflecting the quotation from Sima Qian (China's Han Dynasty historian) that "One's life can be weightier than Mt. Tai or lighter than a goose feather". This pair of performances were a quiet, personal reflection upon what such a once revolutionary expression might mean in today's very different time and place. The work was conceived during the Olympic Cultural Festival showing of Intimate Transactions (www.intimatetransactions.com) - during the tumultuous times leading up to China's proudly staged August 2008 Olympics. The rise and rise of China had long been generating major geopolitical, ecological and cross-cultural shifts throughout the region and beyond. In this dramatic epicentre of change and at a time of such great national pride, how might we each act in ways that are ecologically 'mighty' and yet simultaneously have an impact lighter than a goosefeather? This is both a question for China in its relations with the autonomous provinces and the environment as it is for all of us in our own 'local' affairs. However ecologically speaking all that is of local concern is of global concern and noone can therefore be exempt from the need to sustain that which we share in common and must all protect for the future. Performance 1: Tiananmen Square, Beijing: Dropping 100 goose feathers. Performance 2: The summit of Mt Tai, Shandong Province. Building a mountain from Goose Feathers. SHOWING HISTORY: 1: Anniversary of Protest Crackdown, Jun 8th 2008. 2: Dawn on Tai Shan's summit, 15th June, 2008 DETAILS: Performance 1: Begin an hour after dawn (5.45am) in Tiananmen Square Bring pre-prepared performance shirt, a bag of goose feathers tipped with red. Begin at the "Gate of Heavenly Peace" under the image of Chairman Mao. Circumnavigate the world's largest open and the most surveilled public space 5 times dropping feathers periodically. Meditate on Forces of Change. Finally enter Chairman Mao's mausoleum with the masses and move quietly past his preserved body. End the performance at the Gate of Heavenly Peace 3 hours later. Performance 2: Walk up Mt. Tai Shan in silence meditating on Forces of Change (6 hours). Stay overnight on the summit. Begin an hour before dawn (3.45am) in silence. Bring performance shirt, a sack of goose feathers and a simple wooden structure. On the sunrise viewing side of the mountain build a miniature, fragile 'mountain' in goose feathers and sticks on the edge of a sheer precipice. Watch the sun rise as the feathers blow away into the valley deep below (3 hours).

Origin of Chinese ancient glasses;study on the earliest Chinese ancient glasses

The earliest Chinese ancient glasses before the West Han Dynasty (200 BC) from different regions are studied. The glass samples were unearthed from Hunan, Hubei, Yunnan, Sichuan, Guizhou, Guangdong and Xinjiang of China. The chemical composition of these glasses samples is analyzed by proton induced X-ray emission (PIXE) technique, energy dispersive X-ray fluorescence (EDXRF) method and inductively coupled plasma atomic emission spectrometry (ICP-AES). It is shown that the glass chemical compositions belong to barium-lead silicate BaO-PbO-SiO2, potash soda lime silicate K2O (Na2O)-CaO-SiO2 (K2O/Na2O > 1), soda potash lime silicate Na2O (K2O)-CaO-SiO2 (K2O/Na2O < 1) and potash silicate K2O-SiO2 glass systems, respectively. The origins of the earliest Chinese ancient glasses are discussed from the archaeological and historical points of view. These four types of Chinese ancient glasses were all made in Chinese territory using local raw materials. The glass preparation technology was related to the Chinese ancient bronze metallurgy and proto-porcelain glaze technology. The glass technology relationship between the East and the West is analyzed at the same time.

广西合浦地区出土汉代古玻璃的质子激发X荧光分析

采用改进的外束质子激发x射线荧光、电感耦合等离子体原子发射光谱分析等技术，对广西合浦地区出土的一批汉代古玻璃样品的化学成分和结构特性等进行了检测。结果表明：两汉时期，合浦地区的古代玻璃存在K2O—SiO2、PbO-BaO-SiO2、PbO—SiO2、Na2O-K2O-PbO-SiO2、（Na2O）K2O-CaO—SiO2等多种类型，但绝大多数为K2O—SiO2玻璃。表面风化可引起K2O-SiO2玻璃表面K2O等助熔剂的流失和富硅层的形成。综合化学成分以及器型特征，认为我国汉代K2O—SiO2玻璃制造技术可

Tang shi ji shi : 81 juan /

Ju Shanghai Han fen lou cang Jiajing zhong kan ben ying yin.

一批中国古玻璃化学成分的质子激发X射线荧光分析

质子激发X射线荧光(proton induced X-ray emission，PIXE)技术是一种高灵敏度、非破坏性、多元素定量测定的分析方法。采用外束PIXE技术对内蒙古地区和博山出土的一批古代玻璃的化学成分进行了定量测定。结果表明：内蒙古地区出土的玻璃中，西周时期的玻璃珠是含有少量K2O和CaO助熔剂的釉砂，其主要成分为SiO2；汉代的玻璃珠属于PbO—SiO2玻璃；多数元代的玻璃制品和部分北魏时期的玻璃珠属于K2O—CaO—SiO2玻璃。博山出土的元末明初的玻璃基本为KzO-CaO—SiO2系玻璃

Xu Zi zhi tong jian chang bian : 520 juan /

Block print.

Bazhitoutuo shi ji : shi juan ; Bazhitoutuo xu ji : ba juan ; Bazhitoutuo za wen : yi juan /

Pai ji: Ji wei zhong dong yue kan yu Beijing Fa yuan si.

Li Liweng shi zhong qu : shi er jia ping dian.

On double leaves, oriental style.

Tang shi bai ming jia quan ji /

Imprint date from postscript.

Fan xie shan fang quan ji /

Issued in a case.

Xiao cang shan fang shi ji : 37 juan, bu yi 2 juan /

Mode of access: Internet.

Huang chao jing shi wen bian /

Mode of access: Internet.

Shaping Religious and Cultural Aspiration: Engraved Sutras in Southwestern Shandong Province from the Northern Qi Dynasty (550-577 CE), China

This dissertation explores how the Buddhist texts carved on the cliffs of mountains served their patrons’ religious and cultural goals. During the Northern Qi period (550-577 CE), these carved Buddhist sutra texts and Buddha names were prevalent, and were carved directly onto the surfaces of numerous mountains in southwestern Shandong Province. The special focus of this study is on the Buddhist engravings at Mt. Hongding in Dongping, and at Mt. Tie in Zoucheng. Created in approximately 553-564 CE, the carvings at Mt. Hongding stand as the terminus a quo of the history of Buddhist sutras carved into the rocks of the Shandong mountains. The Buddhist carvings at Mt. Hongding served monastic goals. The monk patrons, Seng’an Daoyi, Fahong, and others created the carvings as an integral part of their Buddhist meditation practices. The carvings at Mt. Tie paint a very different picture. At Mt. Tie, a colossal Buddhist sculpture-style carving was created in 579 CE. Sponsored by several Han Chinese patrons, the carving was designed in the form of a gigantic Chinese traditional stele. This study suggests that several Han Chinese local elites proudly displayed their Han Chinese linage by using the gigantic stele form of Buddhist text carving as a means to proclaim Han Chinese cultural and artistic magnificence. To achieve these non-religious goals, they appropriated rhetorical devices often used by the Han elite, such as the stele form, written statements about the excellence of the calligraphy used, and discourse on calligraphy connoisseurship.