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published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

The poetry of Tang, and the chis of Song are both the greatest literary styles in Chinese literature. Chis was widespread in Tang Dynasty, Five Dynasty and Ten-Kindom preiod, and Song Dynasty. During these periods, the names of chis had been changed and the amount had enlarged as well. Some of chis were used quite often and became the top ten songs. However; some of them only used few times, then disappeared. From those chis, the rise and fall of the dynasties, the news of societies and their cultural orientation were revealed. The relationship of the tune and the content of chis was the source of the authors¡¦ inspiration. Therefore, the relationship of the tune and the content of chis is important. To be the researcher of chis, it is necessary to realize the origin of chis and make a thorough understanding of them. So as to the study of chis. In the dissertation, the researcher started from quantitative and qualitative methods, as well as counted the number of tunes, sorted by ¡§the rules of chis¡¨ of¸U¾ð (Qing Dynasty) and 838 tunes of chis. It was concluded that the authors of chis in Tang Dynasty, Five-Dynasty and Ten-Kindom period and Song Dynasty often used traditional culture and folk tales as metaphor and construct the principles of chis. This dessertation was divided into six parts. Except of introduction and conclusion, there are four chapters which contain one dynasty respectively. Tang Dynasty, Five-Dynasty and Ten-Kindom preiod, and Song Dynasty, were three important periods when chis emerged, expand and mature. The development of chis was discussed in chapter two, three, and four, respectively. By studying initial chis of the authors in these three periods, the relationship of the tune and the content of chis was concluded in chapter five, which is the major point of this dessertation. Hopefully, the relationship among the different authors, various places, and dynasties could be revealed. Therefore, to study ¡§ how did the people at that time handle the tune of chis?¡¨ is very important. The authors of the tonal pattern and rhyme scheme was the tune of chis, which was formed in the court music of Sui Dynasty. In Five-Dynasty and Ten-Kindom preiod, court music, foreign music and folk music combined into chis. This new literature style described the happiness or sadness of the people at that time and sutisfied their emotional needs. The conclusions of this dessertation 1.The relationship of the tune and the content of chis is determined. 2.The tune of chis is related to its content when it initialed. However, the tune and its content were enlarged and changed in Song Dynasty. 3.The sentences in chis were similar to those in poetry. The intertextuality might deserve to be discussed in further study.

余雪霞. / Thesis (M.A.)--香港中文大學, 1987. / Reprint of manuscript. / Includes bibliographical references (leaves 248-284). / Yu Xuexia. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1987. / 撮要 --- p.I / 序言 --- p.IIII / 目錄 / Chapter 第一章 --- 總論唐代壁畫的重要性及唐墓壁畫概況 / Chapter 第一節 --- 唐代背景概述 --- p.1 / Chapter 第二節 --- 唐代壁畫之功用 --- p.4 / Chapter 第三節 --- 唐代墓葬之分佈及墓葬形制與壁畫內容、佈局之關係 --- p.13 / 注釋 --- p.26 / Chapter 第二章 --- 從唐代墓葬壁畫看唐代繪畫之特色──人物畫和山水畫 / Chapter 第一節 --- 前言──唐代繪畫之分科 --- p.30 / Chapter 第二節 --- 人物畫──兼論《樹下人物 圖》 --- p.37 / Chapter 一 --- 綺羅人物 --- p.39 / Chapter 二 --- 步卒屬吏與男僕 --- p.53 / Chapter 三 --- 樹下人物圖與墓主肖像 --- p.59 / Chapter 甲 --- 樹下人物圖之源起 --- p.60 / Chapter 乙 --- 唐墓中的樹下人物圖 --- p.83 / Chapter 丙 --- 樹下人物圖之藝術特色 --- p.82 / Chapter 第三節 --- 山水畫 --- p.88 / 注釋 --- p.112 / Chapter 第三章 --- 從唐代墓葬壁畫看唐代繪畫之特色──花鳥畫和界畫 / Chapter 第一節 --- 花鳥畫 / Chapter 一 --- 前言 --- p.125 / Chapter 二 --- 花卉翎毛 --- p.135 / Chapter 三 --- 鞍馬走獸 --- p.162 / Chapter 四 --- 小結 --- p.170 / Chapter 第二節 --- 界畫 --- p.172 / 注釋 --- p.191 / Chapter 第四章 --- 唐代繪畫之風格分析 / Chapter 第一節 --- 從唐代墓葬壁畫總論唐畫之風格 --- p.201 / Chapter 第二節 --- 由唐代墓葬壁畫看唐代 之畫評 --- p.210 / 注釋 --- p.235 / Chapter 第五章 --- 結論 --- p.239 / 附表一 --- p.243 / 附表二 --- p.244 / 附表三 --- p.245 / 附表四 --- p.246 / 附表五 --- p.247 / 參考書目 --- p.248 / 附圖 --- p.285

published_or_final_version / Chinese / Master / Master of Philosophy

An investigation into the relation between objects and colors is essential in understanding how color perception is evolved in ancient China. First, the separation of objects and colors is a major step to establish a color system. Second, the advanced understanding of a unifying framework between colors and objects has been passed down through generations, which not only made its impact on traditional Chinese paintings' theory with regards to color such as "using color to portray color", "coloring by physical appearance", but also in a way restrained ancient people's thoughts on color's intrinsic properties. To satisfy the taste and understanding in color of their time, the ancients opted for the physical coordinates of an object as their final choice of color to be depicted, indicating their belief in the unification of object and color. When being reflected in paintings, such belief is shown as a pursuit of stable and organized color compositions. / Behind this rich tapestry of colors, the physical production of color pigments is instrumental in the art production in Dunhuang. In the Tang dynasty, the flourishing printing and dyeing industry fuelled the development of plant dyes, some of which could be employed in paintings to make their contributions in art. Mineral pigments made their way to Dunhuang amid the frequent cultural exchanges between China and the West, which formed the material basis for the vibrant Dunhuang art. However, when weighting their color options amid the exported pigments, Central China-culture genes helped to make a conscious decision to reflect local cultural spirit. / Dunhuang in the Tang dynasty is not a simple phrase describing a physical location during a certain time; it is rather an interrelated and compound concept. The rich color culture of the Tang dynasty was preserved through art in Dunhuang and the special nature of Dunhuang culture made it possible for us to understand the complexity of Tang color concept. Through depictions of secular life in both words and images, Dunhuang helped to construct a complete picture of Tang color theory. / In Tang dynasty, the nation's perception of color matured in discipline and art forms are manifested in a mirage of colors. The secular quality in the Tang society dictates the use of natural colors. The different hues of red and green became the color codes for Tang spirit, which are also the dominant colors used in Dunhuang's mural art. The frequent use of red colors reflects the uplifting spirit of its time. / 王冬松. / Advisers: Kam Tang Tong; Jin Zhou. / Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 278-286). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wang Dongsong.

孫賽珠. / "2003年6月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 274-299). / 附中英文摘要. / "2003 nian 6 yue". / Sun Saizhu. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 274-299). / Fu Zhong Ying wen zhai yao. / 提要 --- p.頁i-ii / 目錄 --- p.頁iii-頁vi / Chapter 第一章 --- 緒論 / Chapter 第一節： --- 硏究動機與目的 --- p.頁1-頁5 / Chapter 第二節： --- 前人硏究成果的回顧與檢討 --- p.頁5-頁12 / Chapter 第三節： --- 硏究範圍及方法 --- p.頁12-頁13 / Chapter 第二章 --- 孫光憲生平著作簡介 / Chapter 第一節： --- 孫光憲之生年 --- p.頁14-頁16 / Chapter 第二節： --- 孫光憲之仕途 --- p.頁16-頁23 / Chapter 第三節： --- 孫光憲之著述 --- p.頁37-頁37 / Chapter 第四節： --- 孫光憲之思想才識、文學修養 --- p.頁24-頁39 / Chapter 第五節： --- 孫光憲之交遊 --- p.頁39-頁51 / Chapter 第六節： --- 孫光憲詞之分期 --- p.頁51 -頁58 / Chapter 第三章 --- 孫光憲詞詞牌與内容的關係 / Chapter 第一節： --- 詞牌與內容的關係 --- p.頁59-頁65 / Chapter 第二節： --- 孫光憲詞的聯章性 --- p.頁65-頁84 / Chapter 第四章 --- 孫光憲詞的閨怨情愛 / Chapter 第一節： --- 從文學源流看晚唐五代詞與六朝宮體、唐代艷詩之關係 --- p.頁85-頁105 / Chapter 第二節： --- 從詞人與歌妓的關係論孫光憲艷情詞的特色 --- p.頁105-頁138 / Chapter 第五章 --- 孫光憲詞的風土人情 / Chapter 第一節： --- 孫光憲風物詞所繼承的文學傳統 --- p.頁139-頁155 / Chapter 第二節: --- 孫光憲風物詞的特色 --- p.頁155-頁168 / Chapter 第六章 --- 孫光憲詞的懷古詠懷、邊塞送別 / Chapter 第一節： --- 即地懷古 --- p.頁169-頁180 / Chapter 第二節： --- 借物詠懷 --- p.頁180-頁186 / Chapter 第三節： --- 使事懷人 --- p.頁186-頁193 / Chapter 第四節： --- 邊塞送別 --- p.頁193-頁206 / Chapter 第七章 --- 孫光憲詞的藝術技巧 / Chapter 第一節： --- 語言風格 --- p.頁207-頁225 / Chapter 第二節： --- 意境營造 --- p.頁225-頁235 / Chapter 第三節： --- 格律句式 --- p.頁235-頁242 / Chapter 第四節： --- 結構鋪排 --- p.頁242-頁250 / Chapter 第八章 --- 結語´ؤ´ؤ孫光憲詞的評價地位 / Chapter 第一節： --- 前人對孫光憲詞之評價 --- p.頁251-頁258 / Chapter 第二節： --- 從詞話看孫光憲詞之價値 --- p.頁258-頁262 / Chapter 第三節： --- 孫光憲詞在詞史上的地位 --- p.頁262-頁273 / 參考書目 / Chapter 一、 --- 專著 --- p.頁274-頁288 / Chapter 二、 --- 論文 --- p.頁288-頁296 / Chapter 三、 --- 外文論著 --- p.頁297-頁298 / Chapter 四、 --- 網站 --- p.頁298-頁299 / 附錄 / 附錄一：〈《花間集》、《尊前集》詞人生卒及排列次序〉 --- p.頁300-頁301 / 附錄二：〈孫光憲生平傳記資料〉 --- p.頁302-頁304 / 附錄三：〈孫光憲生平事跡簡述〉 --- p.頁305-頁315 / 附錄四：〈孫光憲之官職表〉 --- p.頁316 / 附錄五：〈孫光憲之著述表) --- p.頁317-頁321 / 附錄六：〈齊己《白蓮集》和孫光憲詩〉 --- p.頁322-頁324 / 附錄七：〈《花間集》題材內容〉 --- p.頁325-頁345 / 附錄八：〈花間詞人的詞牌內容〉 --- p.頁346-頁349 / 附錄九：〈孫光憲詞的詞牌內容〉 --- p.頁350-頁352 / 附錄十：〈孫光憲詞的閨怨內容〉 --- p.頁353-頁356 / 附錄十一：〈《花間集》、《尊前集》中的反問句〉 --- p.頁357-頁358 / 附錄十二：〈孫光憲詞中的反問句〉 --- p.頁359-頁365 / 附錄十三：〈花間尊前詞人從男子角度寫閨怨〉 --- p.頁366-頁369 / 附錄十四：〈花間尊前詞人寫男子冶遊之作〉 --- p.頁370 / 附錄十五：〈《花間集》所描寫之地區〉 --- p.頁371-頁386 / 附錄十六：〈花間詞人所用的《詩經》典故〉 --- p.頁387-頁389 / 附錄十七：〈花間詞人所用的《楚辭》典故〉 --- p.頁390-頁391 / 附錄十八：〈花間詞人所用的漢賦典故〉 --- p.頁392-頁397 / 附錄十九：〈孫光憲詞融化前人詩句〉 --- p.頁398-頁401 / 附錄二十：〈花間尊前詞人的詞牌與句式〉 --- p.頁402-頁406 / 附錄二十一：〈孫光憲詞之押韻句式〉 --- p.頁407-頁411 / 附錄二十二：〈孫光憲詞會評) --- p.頁412-頁450

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Leung Yuen-fun Rachel. / Thesis submitted in: May 2004. / One leaflet mounted. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references. / Abstracts in English and Chinese. / Chapter Chapter One: --- Historical Background / The discovery of the kiln sites --- p.1 / The naming of Changsha ware --- p.3 / The beginning of production --- p.5 / Chapter Chapter Two: --- Development of Changsha ware / Duration of operation --- p.10 / Stages of development --- p.11 / Reasons for decline --- p.15 / Chapter Chapter Three: --- Glaze and Kiln Characteristics of Changsha ware / Body --- p.18 / Shaping method --- p.19 / Glazes --- p.19 / Kiln --- p.21 / Chapter Chapter Four: --- Classification of Changsha ware in the Art Museum collection / Introduction --- p.24 / Daily household wares --- p.25 / Cultural and scholar's articles --- p.44 / Toys --- p.47 / Potter's tool --- p.51 / Chapter Chapter Five: --- Decoration of Changsha ware in the Art Museum collection / Introduction --- p.53 / Decorative technique --- p.54 / Decorative motif --- p.59 / Chapter Chapter Six: --- Changsha ware as reflections of daily life / Custom and religion --- p.78 / Games --- p.94 / Childhood education --- p.98 / Cross cultural Communication --- p.100 / Chapter Chapter Seven: --- Conclusion --- p.102