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Yan Changgui

The Chuci poem “Tianwen” 天問 (Asking Heaven) also mentions Sanwei: 黑水玄趾,三危安在? 延年不死,壽何所止? 32 Where is Black Water, Abstruse Footprint, and Sanwei? Prolonging (one’s) years and not dying, how can life stop? There have been many different interpretations of these two lines. On the basis of the

Edward L. Shaughnessy

make use of punctuation marks, though sparingly: the standard duplication marks for both repeating characters ( chongwen 重文) and combined characters ( hewen 合文); a black dot after the character ci on slip #2 and a similar black dot following the character ye 也 on slip 9 of manuscript A, as well

Qiu Xigui

Eastern Jin dynasty (317–420 CE): 商之始也,有神女簡狄遊於桑野,見黑鳥遺卵於地,有五色文,作“八百”字。簡狄拾之,貯以玉筐,覆以朱紱,夜夢神母謂之曰:“爾懷此卵,卵生貴子,以繼金德。”狄乃懷卵,一年而有娠,經十四月而生契。 15 At the beginning of Shang, there was a divine woman called Jian Di who wandered in the mulberry-tree wilds. She saw a black bird leaving an egg on the ground; on the

Cheng Shaoxuan and Liu Gang

its other as a salute. Black ink was used to draw a black cap and a long robe, and eyes and eyebrows. A text similar to the ones introduced earlier is written on the back of the figurine, but it is longer in content. It closely resembles that on the misfortune-averting wooden figurine excavated in

Robin D.S. Yates (葉山)

on Standards for Pricing Plain Skirts or , The Document in which the Chief Prosecutor Asks about the Pricing of Plain Skirts The slip has a black line of ink across the top and Chen Wei correctly suspects that this might be the title slip for the rest of the fragments. 43 The series of

Tian Tian

item there is a roughly-drawn black line to indicate that the relevant item has been checked off. The format is similar to those in clothing strips of the early Western Han. 55 The other two clothing lists, excavated from Yinwan M6 and the tomb of Shiji Yao, are more complicated. The check marks

Liu Gang

the chapter “Cha chuan” 察傳, “Whenever you come across an utterance ( yan 言), it cannot be left unverified. Countless times white is presented as black, and black as white.” “Utterances” without writing ( wen 文) do not travel very far, people’s memory being unreliable. Thus, it is not surprising that

Li Tianhong (李天虹)

(?) all a 才 inch (slip 602) 青 之純,廣 幅 Blue fringed black silk; width a cloth-yard (slip 138) 〼尺七寸,廣屯一幅 幅 … foot seven inches; width all one cloth-yard a cloth-yard (slip 491) 〼尋二尺四寸,廣二幅二 幅 … cloth-length, two foot four inches; width two cloth-yards two cloth-yards. (slip 537) Given the

Mark Csikszentmihalyi (齊思敏)

of scholars, mostly based outside China, of the practice of buying slips on the black market, and to a lesser degree of using unprovenanced materials in scholarship. I have noticed that sometimes scholars working with unprovenanced materials think that other scholars object to doing so because they

He Youzu (何有祖)

lacquer chess board of Zuozhong 左冢. 102 (2) Li Chuntao interprets shen 紳(申)“restrain” in the Chu silk manuscript and chen shang (dang) ruo ji 辰尚(當)若毄(擊)“the stars should be in continuous order” on the black lacquer box from the tomb of Marquis Yi of Zeng. 103 1