#Late Tang Dynasty Period

[chinesehanfu]

【Historical Reference Artifacts】:  

Tang Dynasty Hanfu Relics Unearthed from the Underground Palace of Famen Temple

Tang Dynasty Hanfu Relics Unearthed from the Underground Palace of Famen Temple:直領對襟團窼紋長衫（袍）

[Hanfu · 漢服]Chinese Tang Dynasty(618-907A.D)Traditional Clothing Hanfu Refer to the relics of Famen Temple

Late Tang Dynasty Period Noblewoman Attire

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👗Hanfu & Photo:  @佳期閣

🔗Weibo：https://weibo.com/6614078088/N2FqMr2U6

🛍️  Tabao：https://item.taobao.com/item.htm?spm=a1z10.3-c.w4002-21517525888.12.3ed71c81WrejrM&id=722671302802

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[artist-ellen]

All the Historical Mermay’s together!

I had a lot of fun with this mermay prompt list by chloe.z.arts and they turned into a pretty cool collection of illustrations!

Prompt list by chloe.z.arts on instagram.

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram.com/ellenartistic or tiktok: @ellenartistic

[jiangwanyinscatmom]

"In historical context though-"

This book has potatoes and chilis in supply and demand when these were not traded until the late 15th century... and not used for cuisine and a foods crop cultivator in China well into the 17th and 18th century almost 200 years later. Folding fans that are seen abundantly were not popularized until the 13th century. Taoism was at its largest during the Warring States period of 450 BCE–c. 300 BCE with the epigram of Tao Te Ching. Confucianism became the abundant practice as of 206 BCE to 220 BCE with the authoring of The Analects. It uses fabricated province names for real world Chinese provinces that are relegated to a simple five, when there are of 22 (claimed) and have been the most stable to survive since the Yuan dynasty 1271-1368. Idioms used vary through the centuries and are still a staple of modern day vernacular. The version of futou Jin Guangyao alone wears was a wushamao (乌纱帽), used in the Ming dynasty 1368-1398. Futou was made a part of ministerial and court attire during the reign of Emperor Wu 560 BCE.

The author has said it has no standing Imperial Dynasty it takes place in and has borrowed aesthetics from the Han, Wei-Jin, Song, Tang, Ming and even Qing. All of which had seen several turns of dynasty from Han to Mongol to Han divine rulings. So no, there is no historical context to take in regard when it comes to Madam Yu's overt abuse, to Jiang Cheng's abuse, the clan's classisms and hypocrisy.

It was written in an alternate fantasy of China without this context of real world history and through the lens of modernity of its author. Do not use a history that does not pertain to a novel that is not has not and was never called historical.

[niteshade925]

April 14, Xi'an, China, Shaanxi History Museum, Qin and Han Dynasties Branch (Part 3 – Innovations and Philosophies):

(Edit: sorry this post came out so late, I got hit by the truck named life and had to get some rest, and this post in itself took some effort to research. But anyway it's finally up, please enjoy!)

A little background first, because this naming might lead to some confusions.....when you see location adjectives like "eastern", "western", "northern", "southern" added to the front of Zhou dynasty, Han dynasty, Song dynasty, and Jin/晋 dynasty, it just means the location of the capital city has changed. For example Han dynasty had its capital at Chang'an (Xi'an today) in the beginning, but after the very brief but not officially recognized "Xin dynasty" (9 - 23 AD; not officially recognized in traditional Chinese historiography, it's usually seen as a part of Han dynasty), Luoyang became the new capital. Because Chang'an is geographically to the west of Luoyang, the Han dynasty pre-Xin is called Western Han dynasty (202 BC - 8 AD), and the Han dynasty post-Xin is called Eastern Han dynasty (25 - 220 AD). As you can see here, in these cases this sort of adjective is simply used to indicate different time periods in the same dynasty.

Model of a dragonbone water lift/龙骨水车, Eastern Han dynasty. This is mainly used to push water up to higher elevations for the purpose of irrigation:

Model of a water-powered bellows/冶铁水排, Eastern Han dynasty. Just as the name implies, as flowing water pushes the water wheel around, the parts connected to the axle will pull and push on the bellows alternately, delivering more air to the furnace for the purpose of casting iron.

The Nine Chapters on the Mathematical Art/《九章算术》, Fangcheng/方程 chapter. It’s a compilation of the work of many scholars from 10 th century BC until 2 nd century AD, and while the earliest authors are unknown, it has been edited and supplemented by known scholars during Western Han dynasty (also when the final version of this book was compiled), then commented on by scholars during Three Kingdoms period (Kingdom of Wei) and Tang dynasty. The final version contains 246 example problems and solutions that focus on practical applications, for example measuring land, surveying land, construction, trading, and distributing taxes. This focus on practicality is because it has been used as a textbook to train civil servants. Note that during Han dynasty, fangcheng means the method of solving systems of linear equations; today, fangcheng simply means equation. For anyone who wants to know a little more about this book and math in ancient China, here’s an article about it. (link goes to pdf)

Diagram of a circle in a right triangle (called “勾股容圆” in Chinese), from the book Ceyuan Haijing/《测圆海镜》 by Yuan-era mathematician Li Ye/李冶 (his name was originally Li Zhi/李治) in 1248.  Note that Pythagorean Theorem was known by the name Gougu Theorem/勾股定理 in ancient China, where gou/勾 and gu/股 mean the shorter and longer legs of the right triangle respectively, and the hypotenuse is named xian/弦 (unlike what the above linked article suggests, this naming has more to do with the ancient Chinese percussion instrument qing/磬, which is shaped similar to a right triangle).  Gougu Theorem was recorded in the ancient Chinese mathematical work Zhoubi Suanjing/《周髀算经》, and the name Gougu Theorem is still used in China today.

Diagram of the proof for Gougu Theorem in Zhoubi Suanjing. The sentence on the left translates to "gou (shorter leg) squared and gu (longer leg) squared makes up xian (hypotenuse) squared", which is basically the equation a² + b² = c². Note that the character for "squared" here (mi/幂) means "power" today.

This is a diagram of Zhang Heng’s seismoscope, called houfeng didong yi/候风地动仪 (lit. “instrument that measures the winds and the movements of the earth”).  It was invented during Eastern Han dynasty, but no artifact of houfeng didong yi has been discovered yet, this is presumably due to constant wars at the end of Eastern Han dynasty.  All models and diagrams that exist right now are what historians and seismologists think it should look like based on descriptions from Eastern Han dynasty. This diagram is based on the most popular model by Wang Zhenduo that has an inverted column at the center, but this model has been widely criticized for its ability to actually detect earthquakes. A newer model that came out in 2005 with a swinging column pendulum in the center has shown the ability to detect earthquakes, but has yet to demonstrate ability to reliably detect the direction where the waves originate, and is also inconsistent with the descriptions recorded in ancient texts. What houfeng didong yi really looks like and how it really works remains a mystery.

Xin dynasty bronze calipers, the earliest sliding caliper found as of now (not the earliest caliper btw). This diagram is the line drawing of the actual artifact (right).

Ancient Chinese "Jacquard" loom (called 提花机 or simply 花机 in Chinese, lit. "raise pattern machine"), which first appeared no later than 1st century BC. The illustration here is from the Ming-era (1368 - 1644) encyclopedia Tiangong Kaiwu/《天工开物》. Basically it's a giant loom operated by two people, the person below is the weaver, and the person sitting atop is the one who controls which warp threads should be lifted at what time (all already determined at the designing stage before any weaving begins), which creates patterns woven into the fabric. Here is a video that briefly shows how this type of loom works (start from around 1:00). For Hanfu lovers, this is how zhuanghua/妆花 fabric used to be woven, and how traditional silk fabrics like yunjin/云锦 continue to be woven. Because it is so labor intensive, real jacquard silk brocade woven this way are extremely expensive, so the vast majority of zhuanghua hanfu on the market are made from machine woven synthetic materials.

Chinese purple is a synthetic pigment with the chemical formula BaCuSi2O6. There's also a Chinese blue pigment. If anyone is interested in the chemistry of these two compounds, here's a paper on the topic. (link goes to pdf)

A list of common colors used in Qin and Han dynasties and the pigments involved. White pigment comes from chalk, lead compounds, and powdered sea shells; green pigment comes from malachite mineral; blue pigment usually comes from azurite mineral; black comes from pine soot and graphite; red comes from cinnabar; ochre comes from hematite; and yellow comes from realgar and orpiment minerals.

Also here are names of different colors and shades during Han dynasty. It's worth noting that qing/青 can mean green (ex: 青草, "green grass"), blue (ex: 青天, "blue sky"), any shade between green and blue, or even black (ex: 青丝, "black hair") in ancient Chinese depending on the context. Today 青 can mean green, blue, and everything in between.

Western Han-era bronze lamp shaped like a goose holding a fish in its beak. This lamp is interesting as the whole thing is hollow, so the smoke from the fire in the lamp (the fish shaped part) will go up into the neck of the goose, then go down into the body of the goose where there's water to catch the smoke, this way the smoke will not be released to the surrounding environment. There are also other lamps from around the same time designed like this, for example the famous gilt bronze lamp that's shaped like a kneeling person holding a lamp.

Part of a Qin-era (?) clay drainage pipe system:

A list of canals that was dug during Warring States period, Qin dynasty, and pre-Emperor Wu of Han Han dynasty (475 - 141 BC). Their purposes vary from transportation to irrigation. The name of the first canal on the list, Hong Gou/鸿沟, has already become a word in Chinese language, a metaphor for a clear separation that cannot be crossed (ex: 不可逾越的鸿沟, meaning "a gulf that cannot be crossed").

Han-era wooden boat. This boat is special in that its construction has clear inspirations from the ancient Romans, another indication of the amount of information exchange that took place along the Silk Road:

A model that shows how the Great Wall was constructed in Qin dynasty. Laborers would use bamboo to construct a scaffold (bamboo scaffolding is still used in construction today btw, though it's being gradually phased out) so people and materials (stone bricks and dirt) can get up onto the wall. Then the dirt in the middle of the wall would be compressed into rammed earth, called hangtu/夯土. A layer of stone bricks may be added to the outside of the hangtu wall to protect it from the elements. This was also the method of construction for many city walls in ancient China.

A list of the schools of thought that existed during Warring States period, their most influential figures, their scholars, and their most famous works. These include Confucianism (called Ru Jia/儒家 in Chinese; usually the suffix "家" at the end denotes a school of thought, not a religion; the suffix "教" is that one that denotes a religion), Daoism/道家, Legalism (Fa Jia/法家), Mohism/墨家, etc.

The "Five Classics" (五经) in the "Four Books and Five Classics" (四书五经) associated with the Confucian tradition, they are Shijing/《诗经》 (Classic of Poetry), Yijing/《易经》 (also known as I Ching), Shangshu/《尚书》 (Classic of History), Liji/《礼记》 (Book of Rites), and Chunqiu/《春秋》 (Spring and Autumn Annals). The "Four Books" (四书) are Daxue/《大学》 (Great Learning), Zhongyong/《中庸》 (Doctrine of the Mean), Lunyu/《论语》 (Analects), and Mengzi/《孟子》 (known as Mencius).

And finally the souvenir shop! Here's a Chinese chess (xiangqi/象棋) set where the pieces are fashioned like Western chess, in that they actually look like the things they are supposed to represent, compared to traditional Chinese chess pieces where each one is just a round wooden piece with the Chinese character for the piece on top:

A blind box set of small figurines that are supposed to mimic Shang and Zhou era animal-shaped bronze vessels. Fun fact, in Shang dynasty people revered owls, and there was a female general named Fu Hao/妇好 who was buried with an owl-shaped bronze vessel, so that's why this set has three different owls (top left, top right, and middle). I got one of these owls (I love birds so yay!)

And that concludes the museums I visited while in Xi'an!

[arthistoryanimalia]

#TextileTuesday:

Textile with Animals, Birds, and Flowers Eastern Central Asia, late 12th–14th century Silk embroidery on plain-weave silk 14 5/8 x 14 7/8 in. (37.1 x 37.8 cm) Metropolitan Museum of Art, New York 1988.296

"This textile demonstrates the longevity of motifs in eastern Central Asia. The placement of animals—a spotted horse, a rabbit, and two deer (or antelope)—at its cardinal points is a compositional device that began to appear in the region during the Han dynasty. The birds on the piece, especially the parrot, entered the Central Asian repertoire during a second period of strong Chinese influence, the Tang dynasty. The floral background's central motif of lotus blossoms, a lotus leaf, and a trefoil leaf was seen in Central Asia and North China but became widespread during the Yuan dynasty."

[thepersonperson]

How old do you think lived to be in the Heian era?

Also do you think the marks on his body are like birthmarks or tattoos to mark criminals?

Not a clue about Sukuna’s death age. The Buddha reached enlightenment at age 29. Sukuna is “enlightened” so I’m going to put him at 29+ years old at death.

I’ve been meaning to do a Sukuna Tattoo post so I guess I’ll use this as an excuse. They aren’t birthmarks that’s for sure.

Sukuna's Tattoos

Notes before we start.

1) I will be mainly using the TCB scans for the manga because of their accessibility. 

2) Written as of JJK 267.

(Click images for captions/citations.)

Preface

I'm drawing from a lot of sources here because documentation of Heian Era specific tattooing customs is not something I could find. The reason I’m comfortable using non-Heian sources as a reference is due to Sukuna borrowing both language and arts from other periods.

For example, Sukuna scolds Yorozu for not using a Haiku properly. The form of Haiku that Yorozu uses did not exist until the late 17th century. A good 500+ years after the end of the Heian Era (794 to 1185). The Haiku is actually derived from Waka poetry that became popular during the Heian Era. (Very short summary: Waka (Sedoka specifically) -> Renga -> Haiku)

It should also be noted that Chinese influences greatly shaped the development of arts and social attitudes in early Heian Era Japan. These influences declined over the this era as Japan looked towards itself for cultural development. Since the Heian Era was from 794 to 1185, most of the Chinese influences came from the Tang Dynasty (618 to 907).

For all these reasons, most of this tattoo analysis draws from the Tang Dynasty in China and the Edo Period in Japan. However historical Chinese tattooing in general is referenced more due to its availability.

Anyone with more historical Japanese or Chinese knowledge are free to correct me if I get something wrong.

Facial Tattoos

Let's first compare the facial tattoos on Yujikuna Megkuna and OG Sukuna.

Yujikuna and Megkuna have identical facial tattoos, but OG Sukuna lacks the markings over his nose and forehead. I think this is because those markings have something to do with Kenjaku's vessel creation. When Kenjaku casts Idle Transfiguration to wake up the Incarnated sorcerers for the culling games, they also have markings on their foreheads.

Sukuna's vessel markings might be different because his incarnation occured outside of the culling games. It could also be from his cursed object’s division into multiple pieces instead of just one. Whatever the reason, these forehead and nose tattoos prpbably hold more information about Sukuna’s relationship with Kenjaku than his past in general. All 3 versions of Sukuna share the chinstrap markings, so those tattoos likely have significance outside of Kenjaku.

Now onto what they could mean…

Sukuna has already demonstrated that he knows his Chinese literature and wordplay via Enchain/契闊 (Keikatsu). (The person who brought this to my attention may or may not have their account nuked. A doctored version of the Tweets is screenshottes here). What's important for this analysis is knowing that Keikatsu comes from a Chinese Poem.

The poem referenced belongs to the Shijing or The Book of Odes. This book is a part of the Wujing or Five Classics, a series of documents believed to be compiled by Confucius that has greatly influenced both China and Japan. Amongst the Five Classics is the Shangshu or Book of Documents that cites the use of punitive tattooing. Quoted directly from Wikipedia:

"It lists the "Five Punishments": the five primary penalties employed by ancient Chinese officials on criminals. The first (and least severe) of these punishments was the tattooing of the criminal's face with indelible ink."

In the Edo Period of Japan, the criminal markings on the face seem to only appear on the forehead. These were given to any lawbreaker as a punishment and a warning because they didn't have prisons. (Source)

These sources both suggest the facial markings are for criminals. However, there are alternative meanings that should be considered.

Kenjaku’s vessel markings are on the forehead and many of the culling game players consider themselves to be manipulated by the promises of incarnation. It’s also odd that the strongest sorcerer is unable to incarnate properly due to Yuji acting as a cage. Kenjaku is all but outright confirmed to have done that on purpose.

For these reasons, I think the following historical tattoo practice from the Chinese Song Dynasty (960 to 1279) should be considered. Quoting directly from the source:

“Tattoos for slaves were things like a label of ownership, or a brand on the forehead. There are some examples of slaves, and concubines, receiving tattoos as punishment for things like trying to escape…”

Uro is a former slave, a military slave to be exact. I go more into detail about this in my Initial Sukuna Backstory Theory. There is also the fact that Kenjaku sees the incarnated and has access to their lives/bodies like this...

They're essentially toys with built-in tracking devices for Kenjaku to monitor and tinker with as needed. The forehead and nose tattoos on Yuji/Megkuna can therefore be seen as a mark of ownership by Kenjaku. And maybe this is why Choso has one across his nose too.

There is one more meaning I can propose for the facial tattoos, though it mostly applies to the chinstrap.

Within China there are tribes that used facial tattoos for other purposes. The Dulong women had their faces tattooed to make themselves look undesirable to invaders that would abduct them for slavery and rape. (If you've read that one revised Sukuna backstory of mine, this is significant.) But more commonly, these markings became a tradition for girls coming of age.

The Ainu women in Japan also used facial tattoos for coming of age, beauty, and preparing for death. I bring up the Ainu because they’re mentioned as a non-Japanese group of sorcerers. There's also this Yuji is of Ainu heritage theory to consider. (This could link Sukuna to the Ainu by blood.)

The tribal uses are discussed here because Sukuna’s tattoos are vaguely tribal in appearance. Though tribal tattoos tend to be more detailed, his feel like a simplified version of them. I think that works well with Sukuna being labeled an unwanted child at birth. Japan has wiped out a lot of its indigenous populations and customs (see the Emishi). After all, what minority group practices haven’t been demonized and associated with criminal activity by the majority?

So the facial tattoos for Sukuna may be a marker for his vessel status, a claim of ownership, a punishment for being a criminal, a deterrent for sexual assault, or a signifier of belonging to a tribe. You can come to your own conclusions about this, after all none of this is confirmed.

Chest and Belly Tattoos

Comparing the versions of Sukuna again. (All these sections are going to start like this.)

Yujikuna and Megkuna once again have the same tatts. OG Sukuna has “C” hooked markings over his pecs instead of the “S” hooks of the other two. He also lacks the belly markings entirely. Since his belly mouth seems to be replacing the belly tattos, I think those markings on Yuji/Megkuna are a stand in for that extra mouth. The pec style differences I have no explanation for.

Due to the chest tattoos extending over Sukuna’s shoulders and onto his back, I won’t looking for possible meanings until the back tatts are addressed.

Back Tattoos

The tattoos running down Sukuna’s back appear to be the same for all 3 versions. Differences are slight enough to be considered inconsistency in the art and not deliberate.

The neck tattoos between Yuji/Megkuna and OG Sukuna differ slightly however. The bands of Yuji/Megukuna remain separate while OG Sukuna’s fuse together and extend further down his back. I don’t really have an explanation for this difference, much like the hooks differing on his pecs.

Back and chest tattoos are associated with criminal activities in Japan rather than criminal punishments because they are hidden under clothing. (Well not in Sukuna’s case, but you know…) Most notably the Yakuza have very intricate chest and back tattoos.

But going back to China, tattoos were also used as dog tags for military members and could signify loyalty, mainly during the Song Dynasty (960 to 1279, which is still within the Heian Era). Despite this, cultural opinions at the time seemed to be conflicted due to tattoos sharing an association with criminals. Quoted directly from the source:

“According to Yue Fei’s biography, when the legendary general was slandered and interrogated for treason, he tore the shirt off his body, exposing four characters tattooed on his back: “Exhaust one’s loyalty in service of the state.” This study looks at two components of the Yue Fei story—patriotic tattoos, and tattooed generals—and examines their meaning in the broader stretch of Song dynasty history. Yue Fei was not the Song dynasty’s only tattooed general who came to a tragic end.”

“This study shows that underneath the nationalist historical narrative of the Song dynasty, of which Yue Fei is a famous example, there lies a different story of social conflict within the Song state. Rather than a story of Chinese fighting non-Chinese and of traitorous and cowardly officials struggling with loyal patriots, this study offers a narrative of a social conflict between high-born clear-skinned officials and low-born tattooed military men.”

Now that sounds a lot like how the higher ups clash with the Jujutsu Sorcerers who do all the actual work. This mentality existed even in the Heian Era, where Uro was exploited as a military slave by the Fujiwaras. And since Uro is a Sukuna parallel, these tattoos could also indicate a similar type of exploitation.

There are still tribal purposes to consider. Drawing more from Chinese sources, the Dai men had body tattoos as a symbol of strength that would accentuate their muscles. Sukuna’s chest and back tatts really draw attention his brawn. The Li women had body tattoos as a right of passage and as identifiers. Sukuna’s neck tattoos in particular are similar to these ones.

So my spattering of explanations this time around for the chest and back tattoos are criminal organization affiliation, military “loyalty” claims (this is a form a slavery), decorative pieces to accentuate the muscles, a right of passage, and an identifier.

Arm Tattoos

Remember how I theorized that the belly markings on Yuji/Megkuna were a stand in for OG Sukuna’s extra mouth? That’s what I think is going on with the arm tattoos as well. The double bands and circles on Yuji/Megukuna represent the extra limbs on OG Sukuna. When this fusion is pulled apart, you get the single bands and dots on the 4 limbs.

As for their meanings? There’s the criminal markings of the Edo Period that indicate where the particular criminal is from. (Courtesy of this Reddit post.)

Since Yuji/Megkuna tattoos are more related to Kenjaku’s vessel creations, this could hint that their deal took place in Nara, Oosaka, Koufu, or Edo. (Nara is most likely because of its significance in the Heian Era.) For OG Sukuna, this is more indicative of where he first got them.

However, the single band is not for a location but rather a status—Hinin. These are the undesirables and social outcasts that were marked for their uncleanness. Sukuna was born a conjoined twin and unwanted. It’s likely these markings directly correspond to that fact.

…

(An unserious suggestion. On queer men in the US, double rings on the arm can represent how far they can fist someone.

I don’t think Gege is referencing this at all. This is just an example of why cultural context is very important to consider.)

...

There are some other meanings to be drawn from armbands specifically, but those are easier to group with legs.

Leg Tattoos

Differing from the other sections, the leg tattoos have only been seen on Megkuna and OG Sukuna. As referenced in the image below, we have the ankle of Megkuna (top left), the upper thigh of Megkuna (right), and ankles of OG Sukuna (bottom left).

Instead of having the double rings, like on his arms, Megkuna only has a single band, which matches OG Sukuna. (It’s reasonable to assume Yujikuna is the same and that OG Sukuna has the upper thigh bands too.) This further supports the idea that the double bands and shoulder rings represent the fusion of the extra limbs. Sukuna never had extra legs so there’s no need represent missing limbs.

For what they mean? I have only the non-Japanese/Chinese sources to go by. Gege may be a fan of non-Japanese cultures, but I'm not sure if that means Sukuna's design elements would borrow from them.

In other cultures, armband tattoos can represent mourning. Which ones exactly I have no idea because all the sites making this claim don’t specify them in detail. (Source 1, Source 2, Source 3) It’s honestly pretty infuriating. If you’re going to “borrow” designs from “cultures” to sell, at least cite your got danged sources.

But if we are to read these as indications of mourning, I don’t believe they’re for a person. Throughout this analysis, tattoos recurrently are associated with some form of oppression—slavery, uncleanliness, social damnation. If Sukuna’s bands are to be read as mourning, I think it’s for the loss of his autonomy and personhood.

What does it all mean?

Sukuna's tattoos are permanent marks that appear to be directly linked to his soul. How he acquired them is currently unknown. Traditional means of application can be quite painful, using metal or bamboo rods to carve skin and fill the abrasions with ink. (Here's a video if you want to watch it be applied.)

If we consider Kenjaku’s use of brands to mark and control vessels, it could be assumed that Sukuna’s tattoos are ones others put on him through binding vows for his control. They could also be symbolic in nature, hinting at his heritage and origins, indicating that he was branded an outcast at birth or even blessed by deities for protection. Perhaps Sukuna wanted the tattoos himself as an act of rebellion against the changing social norms. Whatever the reason, one thing is clear, these tattoos separate him from other humans.

Existing on the Border

I think the ambiguity behind the purpose of these tattoos this fits nicely with Sukuna and other people not knowing how to categorize his personhood. He's so strong and different that he might as well be something other than human. But he's not a curse, he wouldn't be able to used Reversed Curse Technique if that were the case. Is he a monster? A natural disaster? A god? He's kind of all these things at once by way of projection. Other people assign these labels to him and Sukuna doesn't correct them. There's something profoundly gender about it all.

And if you noticed, tattoos in ancient China and Japan have purposes that differ by gender. For women they were used for beauty and protection, while with men they were used to mark ownership and criminality. Sukuna has a melding masculine and feminine elements which is why I consider the tattoo meanings for both with him.

That sounds kind of crazy given that Sukuna very much embodies strength born of toxic masculinity. However, he actively wears women’s clothing and seems to have no qualms with being associated with feminine things. (Godbless marketing team for leaning into that.) He may have a rough and masculine speaking style, but he loves poetry and flowers.

(Sukuna is lying when he tries to deny it. Megumi's hobbies have everything to do with animals, not flowers.)

The earrings he wears, though a direct reference to the Buddha (basically it’s shorthand for how Sukuna isn’t truly enlightened yet), are another symbol of Sukuna's non-conformity. Earrings are something the Japanese government went out of its way to ban for Ainu men during the Meji Restoration after it decided they were only for women.

Even the short hair both he and Uraume wear are quite rebellious for those times, if not an indication of their lower standing. Regardless of gender, long hair was seen as desirable, high-class, and attractive during the Heian Era. (Source for men and source for women.) Most of the Heian characters wear it that way.

Notice how the servant has her hair cut shorter. Sukuna and Uraume's is shorter than that. It would be considered ugly and possibly dehumanizing. And yet when Kashimo sees Sukuna's true form, he calls him beautiful. He uses 美しい (Utsukushii) to do that.

That kind of beauty is a bit deeper than the English language can get across. From the words of someone else, "...utsukushi can express the beauty of something that catches your heart."

Kashimo isn't really wrong, but he's also not entirely right. For every panel of Sukuna looking like an ethereal god, there's another of him being an amorphous creature or a rabid goblin. All of these types of faces for Sukuna occur within JJK 253 alone.

These contradicting elements that somehow fit together are what make Sukuna, Ryomen Sukuna. He both participates in and rejects beauty. He’s crude and classy, violent and merciful, masculine and feminine. That duality, that two-faced nature is Sukuna.

I think his tattoos reflect this. Directly quoted from the source:

“Tattoos have many different symbolic meanings in Japanese culture and can denote where an individual ranked in society or serve as a permanent means of defense against evil forces or perhaps members of the animal kingdom. With the arrival of the seventh-century, the idea of tattooing one’s body in order to make it more beautiful began to lose its appeal due to the strong influence of Chinese customs in Japan—specifically when it came to identifying and tracking criminal activity. Around 720AD during the Nara Period, it appears that tattooing as a form of punishment began to infiltrate Japanese culture. Once the dawn of the Edo Period began the art form was more widely used as a punishment for criminals as at the time there was really no such thing as a prison to send lawbreakers off to.”

The purposes and attitudes towards tattoos in the Heian Era morph in the way Sukuna morphs both physically and in perception. Since Sukuna is the Fallen One, that means he must have been Honored One first. What caused him to fall remains a mystery, much like the meanings behind his tattoos.

One last thing...

A small caveat in relation to everything else, Sukuna referring to himself as The Fallen is the only time he has introduced himself.

He’s not given someone his name nor identified himself as anything other than a former human (which was internal). Combined with the ambiguous nature of his form, tattoos, and origins, I don't think it would be wrong to read him as someone who has transcended gender.

[paganimagevault]

Tomb of An Bei 589 CE. Sogdian tomb.

I couldn't find the translation for the epitaph for this one.

"Differently from the other tombs quoted in this paper, Anbei’s tomb was not excavated by archaeologists, but found and looted by the robbers, therefore the archaeological context of this tomb, even the date of this accidental finding are lost. Until now, all we know is that this tomb robbery happened someday between 2006 and 2007. Several stone figurines, a funerary couch and Anbei’s epitaph stone were found in the tomb. Two stone figurines, parts of the base of the couch and the epitaph are now exhibited in the Tang West Market Museum in Xi’an (Fig.20), four panels belonging to the private owners, including two processing and two banqueting scenes, were published, too (Fig.21).

Although owning the typical Sogdian name An, which means his ancestors migrated into China from Bukhara, his homeland was described in a completely different name, the state of Anjuyeni, which was never recorded by any source before. An’s family moved to China during the Northern Wei dynasty, some of his family members once served in the Bureau of Tributaries. For the court, it’s also an usual way to adopt expatriate immigrants to work in the diplomatic system. Anbei’s father, An Zhishi, served as a middle-rank commanding officer among the honour guards of the court.

As a, likely, third generation immigrant, Anbei’s life depicted in the epitaph was very brief, too. Except for the usual eulogies commonly written in every epitaph, two main parts of his experience were emphasized: his mercantile ability and simple bureaucratic career. The one who wrote the text made a metaphor, assimilating Anbei with two famous ancient Chinese merchants, Baigui and Xiangao during the Eastern Zhou Period (approximately between 8th c. - 3rd c. BC); After that, Anbei’s only short official career as a very lower status clerk of the military headquarters of vassal leader Xuchang was recorded, probably happened in 575 AD when he was 20 years old. Soonafter the Northern Qi was replaced by Northern Zhou dynasty in 577 AD, Anbei returned home in Luoyang, the place where he died and was buried in 589 AD at the age of 34.

The motivation for me to list this robbed tomb here, together with the other tombs which have detailed background obtained through scientific archaeological excavation is, however, mainly not for its elaborate funerary couch, but because of his distinctive identity depicted in the epitaph. Prior to the discovery of Anbei’s tomb, the deceased of all five tombs which constituted the most important foundation of the studies of the foreign immigrants in early medieval China, namely the tombs of Lidan, Kangye, Anjia, Shijun and Yuhong, owned high-ranked official positions such as head of a prefecture or Sabao, which may result in a misconception that only aristocrats of the foreign immigrants could be buried with such elaborate funerary furniture. However, Anbei’s tomb provided an additional possibility about the status of the tomb occupant who used the stone funerary furniture. What is expressly shown in the epitaph, during his 34-year-long life, Anbei was just a very ordinary person, without any notable ancestry from homeland, neither held any high-ranked post, nor received anyone as a posthumous reward.

Except for the basic information above, there is also a remarkable narration during the introduction in the beginning of Anbei’s epitaph, which may reflect the collective mindset among most of the foreign immigrants in China and their efforts in social integration, ‘Although he is a foreigner, after a long life in China, there is no difference between him and the Chinese’.

-Yusheng Li, Study of tombs of Hu people in late 6th century northern China

[blueiscoool]

Statue of a goddess, probably Nehemetaui or Nebethetepet Late Period–Ptolemaic Period Dynasty 27–30 550–300 B.C.

The shrine-shaped sistrum sound-box worn as a crown by this figure indicates that either the goddess Nehemet-aui, the consort of Thoth, or Nebethetepet, a manifestation of Hathor, is represented. The features of the goddess suggest a date to the end of the 26th dynasty, or the 30th dynasty. As the kings of the 30th Dynasty built important buildings including a temple to the goddess Nehemet-aui at Hermopolis, the seat of the god Thoth, it is plausible this statue is Nehemet-aui.

H. 17.8 × W. 4.3 × D. 10 cm (7 × 1 11/16 × 3 15/16 in.). H. (with tang): 20 cm (7 7/8 in.).

[missmyloko]

Hello! I was wondering about the evolution of kimono styles throughout Japanese history. I have a rather static image of what they look like, but being into general historical fashion made me question if it really was as unchanging as I imagine. For example, the Edwardian and Victorian silhouettes, or Tang dynasty qixiong and Ming dynasty aoqun look very different from each other. Did kimono have they own trends that amateurs don't know about?

Part 2: Hi, just to clarify, I mean general fashion trends, for both men and women (though I'm leaning more women). Also, I was wondering if there was a disparity between geimaiko trends which separated them from "normal" women. In certain cultures, courtesans and entertainers were trendsetters. The kimono as we know it today, the kosode, has been around for approximately 600 years or so. In that time not much has changed in its shape, but rather all changes have been made in length and material. Until the late 19th century almost all kimono were worn while dragging along the floor, so they were longer than their contemporaries. In terms of material, obviously the richest members of society had the most lavish kimono, which are the ones that have survived in the highest quantities to this day. From what we know as the "modern kimono," which dates to the Edo Period (1603-1868), we know that goshodoki (views of the nobility) were a very popular motif on kimono for both women and younger girls (kosode and furisode) and were worn on their best kimono. Goshodoki began to fall out of favor just before the Meiji Period, so around 1840-1850, when Japan began to experience upheaval and Western influence. When it comes to influences and influencers, The Edo Period once again strictly controlled what people could wear due to sumptuary laws. There were many ways that people got around these laws, but for the most part you had to dress in what was prescribed for your social class. Courtesans were in a class above those of the "normal" people, so they weren't setting any trends for clothing (although they did with their hair). However, it was the geisha who were trendsetters for the common people as they belonged in the same class. What a popular geisha wore was quickly copied by other geisha, which was then in turn copied by townswomen. The only real control that they had over their wardrobe were the patterns on their kimono and obi, which, although still regulated, could be presented in unique ways or new color patterns. With the end of the Edo Period came the end of sumptuary laws and a fair degree of Western influence in everyday Japanese life. Kimono were now shorter as people no longer wore them dragging on the floor (except for geimaiko) and motif placement had to change to due to the adoption of Western furniture. Kamon (family crests) on women's kimono grew smaller but with them came added motifs on shoulders that weren't seen before as now most motifs on kimono couldn't be viewed properly on Western style chairs. Western style motifs and artistic styles also began to be adopted in the early 20th century in a time known as the Taisho Roman. Kimono production boomed during the Taisho Period (1912-1926) as Japan was expanding its foreign territories and the economy soared. The different types of motifs and and the sheer richness and sparing of no expense was something that has never been seen before and will never be seen again. Sadly then came World War II, production stopped, and when it resumed it was much more subdued as people moved to Western clothing as their main clothing of choice. Kimono were still being produced throughout the 1960s, 1970s, and 1980s with a fair amount of regularity, but the burst of the bubble economy in the 1990s lead to a sharp decline in kimono production. It's only been within the last 10 years or so that a "Kimono Renaissance" has been taking place that has lead to both foreigners and Japanese nationals rediscovering the iconic garment, with an uptick in indie designers leading the way in new fashions rather than older fashion houses ^^

[ge]

do you know roughly what time period mount hua takes place? like if its during a specific dynasty or anything

most murim/wuxia take place in a very vague ancient time period that, unless the author specifically mentions what year it is, its impossible to tell.. as for rotmhs i dont think a specific year/dynasty has ever been mentioned so u pretty much have free range to put rotmhs in whichever dynasty feels right to you

ive seen some people speculate on time periods based on the type of hanfu characters wear but that hardly ever holds up seeing how in most wuxia media (mostly xianxia but i digress) that take place in this vague-wuxia-timeline, the robes are often mashed together into a conglomerate of a bunch of different dynastys styles, that or theyre purely fictional and only exist to be aesthetically pleasing and more xianxia-like..

purely my own headcanon though i like to imagine current timeline rotmhs takes place mid to late tang dynasty, chung myung having lived his life as geomjon some point in the early years of the sui dynasty and into the tang dynasty..or something.. *scratches ass* im still working on the math

[garden-ghoul]

Happy Gushiwensday Shabbes, we've got a Du Mu tonight! Here's "On the subject of water pavilion of Kaiyuan Temple at Xuanzhou." It includes a little foreword by Du: "Below the pavilion are winding creeks, between which people dwell."

The relics of the Six Dynasties are now just manuscripts fading to air but the sky's mild clouds are as lazy now as they were in ancient times. Birds come and birds go through the color of the mountain; people sing and people weep among the sound of water. Rain in deep autumn, door-curtains for a thousand houses, and at sunset on the balcony, a flutelike wind. Feeling melancholy because I'll never meet Fan Li, who disappeared into the jagged mist and trees at Five Lakes.

Original text and notes under the cut.

题宣州开元寺水阁

阁下宛溪，夹溪居人。

六朝文物草连空，天淡云闲今古同。 鸟去鸟来山色里，人歌人哭水声中。 深秋帘幕千家雨，落日楼台一笛风。 惆怅无因见范蠡，参差烟树五湖东。

I'm really not sure what all Du Mu was going for with this one... I just tried to make my translation kind of abstruse because it's what he would want. Here are some notes, though!

Kaiyuan Temple at Xuanzhou --- in modern Anhui province on the Wanxi River.

relics of the Six Dynasties --- specifically 文物 cultural relics. The term is ill-defined even now, including vehicles, clothing, ritual objects, and documents. We're not totally sure what it meant in the Tang Dynasty. But either way, the Six Dynasties period ended about 250 years before this poem was written.

manuscripts fading to air --- a lot of ways to interpret this one. 草连空 "grass joining emptiness" is the gloss I went with. As Laurence pointed out it's fun that this line ends with 空 and then next line in the couplet starts with 天 since they can both refer to the sky, so I wanted to end my line with "air."

through the color of the mountain --- seriously, what does 山色里 mean? I wasn't confident enough about any interpretation to do anything other than literal, although Laurence points out that 色 is often used poetically to mean scenery. My translation is a little intentionally occluded because I like the ambiguity and the possible alternate image of birds emerging from a painting of a mountain, which feels very Mushi-shi to me.

deep autumn --- maybe better translated as "late autumn" but the literal is so juicy.

door-curtains --- Sounds a little awkward. I feel like the best vibes-based translation of 帘幕 is maybe "awning," but in the West awnings are curved, so you don't get the image of rain as a curtain.

Fan Li --- a politician and businessman from the end of the Spring and Autumn Period, some 1300 years before the time of this poem's writing. As I understand it he was being pursued by his former lord and decided to disappear.

jagged mist --- 参差 fantastic word, maybe meant to convey uneven or patchy, but can also mean serrated.

[chinesehanfu]

【Historical Artifacts Reference】

Skirt Pattern Reference:Tang Dynasty Murals<Mother and Daughter Doner>in Cave 12 of Dunhuang Mogao Grottoes. ※Due to the mural paint has long been oxidized, resulting in color differences※

【Skirt Restoriation And Way Of Wearing Reference】

※Let the inner skirt show through the side※

China Five Dynasties and Ten Kingdoms Period:Murals From Tomb of Wang Chuzhi王處直(862–922)

China Tang Dynasty Murals in Cave 159 of Dunhuang Mogao Grottoes.

【Tang Dynasty Hairpin Artifacts】

[Hanfu · 漢服]Chinese Tang Dynasty(618-907A.D)Traditional Clothing Refer to Tang Dynasty  Dunhuang Mogao Grottoes Murals

Mid-Late Tang Dynasty Women's Attire

————————

📸Recreation Work:@-盥薇-

👗 Hanfu： @时合岁初传统服饰 ​​​

🔗Weibo:https://weibo.com/3942003133/MC5n4viSt

————————

[odaclan]

Rotating volley technique possibly exist in Sengoku Japan

Previously in my Nagashino post, I mentioned that the popular story of the rotating volley tactic is considered dubious. The main reason for it is that the source of it is completely unknown. At some point it became a just-so story in the Edo era, and was affirmed as fact by the Meiji government, clearly without properly checking its veracity. 

Even Oze Hoan’s Shinchouki text (this is not Ota Gyuuichi’s Shinchoukouki), which is already considered dubious in the first place, only recorded that the Oda forces had 3000 guns. It also did not describe a rotating volley tactic. 

However, even if this artillery tactic is not explicitly used in the Nagashino battle, there is proof that the Japanese troops are aware of and seemingly well-trained trained in this tactic at least as of the late Sengoku. It was known to have been used in Hideyoshi’s Korean war, as recounted by the people of Ming and Joseon:

In 1593, for example, Ming General Song Yingchang (宋應唱, 1536－1606) noted that the Japanese employed the musketry volley technique, writing that he feared the Japanese would “break into squads and shoot alternately against us (分番休迭之法).” In 1595, Korean King Sŏnjo shared the same apprehension that “the Japanese [would] divide themselves into three groups and shoot alternately by moving forward and backward (若分三運, 次次放砲)?”

From "Big Heads, Bird Guns and Gunpowder Bellicosity: Revolutionizing the Chosŏn Military in Seventeenth Century Korea", a thesis by Kang Hyeok Hweon.

Maybe there were records of this method employed in domestic battle that the researchers just haven’t discovered yet. For now it’s still unclear where and when the Japanese troops learned of this. Just that they seem well trained enough in it during the battles mentioned above. 

It’s noteworthy, however, that this rotating volley tactic was already a very well-known method of warfare in China as early as 750s AD in the Tang dynasty. First, it was used by archery and crossbow units. Then, they evolved the technique to be used with guns. Below is a description of a battle in the year 1414:

“The commander-in-chief (都督) Zhu Chong led Lü Guang and others directly to the fore, where they assaulted the enemy by firing firearms and guns continuously and in succession. Countless enemies were killed.”

From “The Gunpowder Age: China, Military Innovation, and the Rise of the West in World” by Tonio Andrade. 

Especially noteworthy is that the enemy’s army described in this passage are also mounted troops. It’s not impossible that the Japanese somehow learned of the above literature from Ming, and then put it in practice, though without proof we cannot assume too much.

King Seonjo’s description, specifically, sounds like the kind of rotating volley usually described in the Nagashino stories. This brings to mind how many times I’ve seen cases of Edo period stories inserting anachronistic objects or settings into narratives of the past, so it could be how this legend was born. Perhaps the Edo storytellers took the volley technique that wasn’t known or used until later, and just assigned it to Nagashino for dramatic flair. 

[beehunni62]

Advisors Alliance Mini Encyclopedia Translation Post 19: Dogwood

The Advisors Alliance 大军师司马懿之军师联盟 is a 2017 two-part Chinese TV series depicting the life of Sima Yi, a government official and military strategist who lived during the late Eastern Han Dynasty 东汉 (25 CE - 220 CE) and the Three Kingdoms Period 三国時代 (220 CE - 280 CE). [Wikipedia of the show’s first season]

The second part is titled Growling Tiger Roaring Dragon 虎啸龙吟 and keeps following Sima Yi’s life as he matures and becomes wiser [Link to the show’s second season’s MyDramaList page].

The Weibo account [Link] of the show made a series of posts in the style of small encyclopedias explaining different historical and cultural facts that where included in the series. The user @moononmyfloor compiled the 50 posts and asked me to translate them. This will be an ongoing series where I will do just that. Although I tried to stay as close as possible to the original text, I had to take some liberties in some posts to get the meaning across better. On the side, I have included extra information from personal research that explains certain things better.

The posts are not in order of the episodes but I will provide the episode and season number to avoid confusion. If there are any mistakes in translation, do let me know in the comments or privately message me and I will do my best to fix them.

If it is difficult to read the letters, tap or click on the image to expand it. Without more preamble, here you go.

There’s a typo. I meant “Ming Dynasty” not “Mind Dynasty”.

Extra information:

Double Ninth Festival, also known as Double Yang Festival and Chongyang Festival, is a Chinese holiday celebrated on the ninth day of the ninth month in the traditional Chinese calendar. It’s called the Double Yang Festival 重阳节 [Trad. 重陽節] because nine, in Chinese culture, was regarded to be a Yang number (6 was Yin). As such, the ninth day of the nine month was considered to have very strong Yang energy and, thus, was auspicious. People celebrated it by climbing high places such as mountains (from there the festival also came to be known as the Height Ascending Festival 登高节), drinking chrysanthemum wine, eating chrysanthemum cakes, appreciating chrysanthemum flowers, wearing dogwood branches on the hair, and visiting the graves of ancestors to leave food, drinks, and gifts. The tradition of climbing mountains likely came from the worship of mountains as ancient Chinese people climbed them to pray and receive blessings from the gods and/or ancestors. The Double Ninth Festival predates the Eastern Han Dynasty.

Like all other traditional Chinese holidays, poets wrote poems dedicated to celebrating the auspicious days. The fragment of the poem that is mentioned at the beginning of the post is one taught to children in China in elementary school. It’s by the Tang poet Wang Wei 王维 and it’s titled 《九月九日忆山东兄弟》 [Trad. 《九月九日憶山東兄弟》]. Below is the poem in both simplified and traditional Chinese. I will leave a translation made by American Poet Witter Bynner below.

Traditional:

獨在異鄉為異客，

每逢佳節倍思親。

遙知兄弟登高處，

遍插茱萸少一人。

Simplified:

独在异乡为异客，

每逢佳节倍思亲。

遥知兄弟登高处，

遍插茱萸少一人。

Translation (On the Mountain Holiday Thinking of my Brothers in Shandong)

All alone in a foreign land,

I am twice as homesick on this day.

When brothers carry dogwood up the mountain,

Each of them a branch -- and my branch missing.

The three sacrificial animals 三牲 changed depending on the dynasty. For instance, nowadays, people associate the three sacrificial animals with chicken, pork, and fish. However, in the time of the Western Zhou Dynasty, people referred to the three sacrificial animals as cow, sheep, and pig. Variations also include chicken, duck (or geese), and fish. Another variation involves five animals instead of three: chicken, duck, pork, fish, and squid. The purpose of animal sacrifice was to ask the gods and ancestors for protection and/or blessings.

Picture showcasing the five animal sacrifices 五牲 of chicken, pork, fish, duck, and squid [image source].

Catalogue (find the rest of the posts):

[niteshade925]

Apr 11, Xi'an, China, Beilin Museum (Stele Forest):

Continuing from the previous post about the museum... I have a LOT of pictures from this trip to Xi'an, almost 900 pictures total. For the sake of brevity, I will not post all of them.

Jingyun Bell/景云钟:

The Jingyun bell is a giant bronze bell cast in 711 AD (Tang dynasty), this bell was originally inside the Bell Tower of Xi'an/西安钟楼, and bear the inscription written by Emperor Ruizong of Tang/唐睿宗 (full name Li Dan/李旦). This bell is 2.47 m tall (~8.1 ft), has a circumference of 4.86 m (~15.9 ft), has a diameter (at opening) of 1.65 m (~5.4 ft), and weighs 6 metric tons (~6.6 US tons).

Fun fact about Emperor Ruizong of Tang Li Dan: apparently he has the nickname of "六位帝皇丸", or "Six Emperors Wan". "六味地黄丸" is the name of a prescription in traditional Chinese medicine, but here it's used as a pun. This is because Li Dan himself had been emperor twice, his father Li Zhi/李治 was the emperor (Emperor Gaozong of Tang/唐高宗) before him , his mother Wu Zetian/武则天 made him cede the throne to her and became emperor after his first reign (Emperor Zetian Dasheng/则天大圣皇帝), his older brother Li Xian/李显 was an emperor (Emperor Zhongzong of Tang/唐中宗), and finally after his second reign, he ceded the throne to his son Li Longji/李隆基 (Emperor Xuanzong of Tang/唐玄宗). So that's the 6 emperors, and they all came from himself and his immediate family.

Just in case that was confusing, here's his family tree:

One more fun fact about the bell itself: it provided the bell sound sample heard at midnight in CCTV New Year's Gala every year. The bell itself probably won't be sounded anymore for conservation purposes--it is over 1300 years old at this point. The bell currently inside the Bell Tower of Xi'an is a replica.

Classic of Filial Piety Set Upon Stone/石台孝经:

This stele is also among the most famous in the Beilin Museum, as it combines the calligraphy work of two emperors of Tang dynasty, Emperor Xuanzong of Tang/唐玄宗 Li Longji/李隆基, and his son, Emperor Suzong of Tang/唐肃宗 Li Heng/李亨, and also has excellent examples of 4 different scripts. Specifically, Li Longji wrote the Classic of Filial Piety/孝经 (a Confucian classic text) and annotated it in lishu/clerical script/隶书, then added comments in xingshu/semi-cursive script/行书. Li Heng wrote the title in zhuanshu/seal script/篆书 (see picture of the actual stele below), and a memorial written in kaishu/regular script/楷书 by Imperial College Chief/国子监祭酒 Li Qigu/李齐古.

Since the stele actually has inscriptions on all four sides, here's the complete rubbing:

Here's the pavilion over the stele, picture from Wikipedia. The bian'e/匾额 (can be understood as a sign) says "stele forest"/碑林 (read from right to left), and was by Lin Zexu/林则徐 (1785 - 1850). The exact reason why 碑 is missing a stroke at the top is unclear, but one thing is certain: that was one of the correct ways to write the character. It's just that modern standardized systems of written Chinese (both Simplified and Traditional) only accept 碑 as the correct form.

Cao Quan Stele/曹全碑:

One of the most famous steles in the museum. This stele, which praised Cao Quan's accomplishments, was written by Wang Chang/王敞 and was erected in 185 AD (late Eastern Han dynasty). It is important for two reasons, first is because it represents lishu/clerical script/隶书 at its full maturity by the end of Eastern Han dynasty. The second reason is because it provides a great source for scholars studying the history of that time, particularly with regard to the Yellow Turban Rebellion.

A closeup at the calligraphy:

Li Mountain Hot Springs Poem/骊山温泉诗:

This one isn't particularly famous, but it is one of my personal favorites from the exhibition. The calligraphy was by Prince Guo/果亲王 of Qing dynasty (full name Aisin Gioro Yunli/爱新觉罗·允礼) in 1735, and is in the xingshu/semi-cursive/行书 script.

Emperor's Calligraphy Work in Daguan Period/大观圣作之碑:

This stele is actually not part of the Beilin Museum's collection, since it's currently located in Zhaozhou, Hebei, China. I thought I should include it here, because the writing is in a script that I've never really talked about before, which is the shoujinti/"slim gold script"/瘦金体. It's a variation of kaishu/regular script/楷书 that's invented by Emperor Huizong of Song/宋徽宗 Zhao Ji/赵佶, who is the calligrapher here, hence the title.

A closeup of the calligraphy:

Stele of an Imperial Edict/加圣号诏碑:

By Zhao Shiyan/赵世延 in 1313 (Yuan dynasty). The content is an imperial edict in 1307 that posthumously bestowed the title of "Great Completer, Ultimate Sage and Exalted King of Culture"/大成至圣文宣王 upon Confucius. The purpose of this picture is just to show what the bigger steles really look like, as ink rubbings definitely don't do them justice. The top is decorated with two carved dragons, and the stele is mounted on a stone bixi/赑屃, one of the 9 sons of the loong that has remarkable strength and looks like a turtle (with teeth).

And finally a pagoda tree/槐树 outside the museum that is 1100 years old (planted at around the end of Tang dynasty):

[brehaaorgana]

Okay expanding on something I was going to put in the tags but it drives me nuts when people say "ancient tang dynasty China."

There's a few reasons for this:

The Tang dynasty began in 618 CE, which even if we're only looking at western historical periodization is arguably the very tail end of late antiquity. Calling the WHOLE DYNASTY ancient because it begins in the end of what the west calls "ancient" feels silly.

It ends in 907 CE, which again, by western periodization is explicitly medieval.

Using western European historical periodization for Chinese history is dumb.

Chinese academic studies typically group these periods differently from the western periods. In English language journals, the Tang studies society journal actually includes the Sui (581 CE), Tang, and Five Dynasties periods. (Basically ending just before 1000 CE.) The journal of Song-Yuan studies actually includes "Song, Liao, Jin, Xia, and Yuan dynasties," and covers "middle period China."

You might say "oh medieval is a middle period! So obviously what comes before medieval is ancient, and therefore the tang dynasty is ancient."

But the journal "Early China" covers "all aspects of the culture and civilization of China from earliest times through the end of the Han dynasty period (CE 220)." Meaning that anything post-Han dynasty isn't ancient enough to be included in the ancient China journal.

It's probably MORE Accurate to say that Sui-Tang China is their equivalent to the "Early Middle Ages" and Song-Yuan is the "High Middle Ages." And we just call the Song-Yuan period "middle China". Lots of historians call tang dynasty "early medieval" for a reason!

"but it could be late antiquity, which is still ancient!" But late antiquity is defined in relationship to the remains of the ancient Roman empire which is incidentally, not near China.

My classical Chinese translation class focused on reading ancient Chinese didn't include anything from the tang dynasty because you need to be familiar with ancient Chinese before you get to tang literature

I'm a medievalist