The present paper makes a deep-going analysis of Xiongnu tombs in the light of recently discovered data and new achievements in the study of relevant problems.It comprises four parts:1) distribution and date;2) examin...The present paper makes a deep-going analysis of Xiongnu tombs in the light of recently discovered data and new achievements in the study of relevant problems.It comprises four parts:1) distribution and date;2) examination of unearthed typical objects;3) structural features and burial ritual;and 4) periodization and regionalization.By analyzing the unearthed objects,the author sums up the general character(identity) and traditional regional elements of the Xiongnu culture.By studying the tomb form,coffin structure and burial custom,she makes conclusions on the general character,burial ritual and regional difference of Xiongnu tombs and their hierarchy reflected from the tomb structure and grave goods.Finally,based on the funeral objects and tomb features,as well as the evolution and the identity and variety of burial ritual,she divides the available Xiongnu tombs into the early(late 3rd century BC—AD mid 1st century),transitional(AD mid 1st century—early 2nd century) and late(AD early 2nd century to mid 3rd century) phases and,geographically,into the area from Zabaikalye to the middle Yellow River valley,that in the middle and upper Yellow River valley and that in Semirech’e,with the first area further divided into four sub-areas.The author believes that the first area was the dominion of the Xiongnu Empire;the second one,the region of the South Xiongnu submitting to the Han Dynasty;and the third one,the territory where the North Xiongnu launched their activities after their westward migration.展开更多
To strengthen the protection and inheritance of Guqin traditions does not mean that the art of Guqin should not be developed or new works for Guqin should not be composed.As matter of fact,new Guqin works have been co...To strengthen the protection and inheritance of Guqin traditions does not mean that the art of Guqin should not be developed or new works for Guqin should not be composed.As matter of fact,new Guqin works have been composed from time to time since the ancient times, and the art of Guqin has never stopped growing.A judgment on whether the art of Guqin has developed or not can not depend on whether any new works have been composed,but rather on whether these works have reached a certain artistic level.Sometimes,even if it is a new work, its artistic level is average and contains no great values,while some old tunes,when being played,reflect the high level of composition at the times.The present situation shows that quantity of new Guqin works is limited in comparison with ancient tunes,and many of them are far away from the Guqin traditions and have not reached the height of artistic level reflected in ancient tunes,thus have not yet been performed by Guqin players.Various attempts in composing new works should be allowed.It seems senseless to pursue the"originality"and"novelty"in composing Guqin music regardless of the inherent peculiarity and performing traditions of the instrument,taking Guqin as guitar or Guzheng,or to simply follow the ways of"development"and"innovation"of some other Chinese traditional instruments,targeting at piano,rather than taking roots in the rich lands of traditions and employing the original artistic feature of"writing on one’s mind"and the instrumental function of elegance and inner intelligence so as to create new works that may reflect the highest level of the times.展开更多
文摘The present paper makes a deep-going analysis of Xiongnu tombs in the light of recently discovered data and new achievements in the study of relevant problems.It comprises four parts:1) distribution and date;2) examination of unearthed typical objects;3) structural features and burial ritual;and 4) periodization and regionalization.By analyzing the unearthed objects,the author sums up the general character(identity) and traditional regional elements of the Xiongnu culture.By studying the tomb form,coffin structure and burial custom,she makes conclusions on the general character,burial ritual and regional difference of Xiongnu tombs and their hierarchy reflected from the tomb structure and grave goods.Finally,based on the funeral objects and tomb features,as well as the evolution and the identity and variety of burial ritual,she divides the available Xiongnu tombs into the early(late 3rd century BC—AD mid 1st century),transitional(AD mid 1st century—early 2nd century) and late(AD early 2nd century to mid 3rd century) phases and,geographically,into the area from Zabaikalye to the middle Yellow River valley,that in the middle and upper Yellow River valley and that in Semirech’e,with the first area further divided into four sub-areas.The author believes that the first area was the dominion of the Xiongnu Empire;the second one,the region of the South Xiongnu submitting to the Han Dynasty;and the third one,the territory where the North Xiongnu launched their activities after their westward migration.
文摘To strengthen the protection and inheritance of Guqin traditions does not mean that the art of Guqin should not be developed or new works for Guqin should not be composed.As matter of fact,new Guqin works have been composed from time to time since the ancient times, and the art of Guqin has never stopped growing.A judgment on whether the art of Guqin has developed or not can not depend on whether any new works have been composed,but rather on whether these works have reached a certain artistic level.Sometimes,even if it is a new work, its artistic level is average and contains no great values,while some old tunes,when being played,reflect the high level of composition at the times.The present situation shows that quantity of new Guqin works is limited in comparison with ancient tunes,and many of them are far away from the Guqin traditions and have not reached the height of artistic level reflected in ancient tunes,thus have not yet been performed by Guqin players.Various attempts in composing new works should be allowed.It seems senseless to pursue the"originality"and"novelty"in composing Guqin music regardless of the inherent peculiarity and performing traditions of the instrument,taking Guqin as guitar or Guzheng,or to simply follow the ways of"development"and"innovation"of some other Chinese traditional instruments,targeting at piano,rather than taking roots in the rich lands of traditions and employing the original artistic feature of"writing on one’s mind"and the instrumental function of elegance and inner intelligence so as to create new works that may reflect the highest level of the times.
