While the historical works discussing the trading aspect of Sogdians are abundant,a relatively small amount of researches discuss the diasporic women who moved to China with their family members(usually husbands)who a...While the historical works discussing the trading aspect of Sogdians are abundant,a relatively small amount of researches discuss the diasporic women who moved to China with their family members(usually husbands)who are traders.The Sogdian ancient letter is among the rare sources that provide women’s perspective in Sogdian diasporic society.This work analyses the multiple identities of Miwnay,the main woman character in the Sogdian ancient letter.This paper explores the underlying privileges of women and socially constructed restrictions posed upon women.This work compares Sogdian women’s situation implied in the letters with other women figures in sedentary communities’.In this work,Sogdian women’s high autonomy is shown despite male dominance on financial resource distribution.展开更多
Late in 705, newly enthroned emperor of the freshly restored Tang dynasty Zhongzong 中宗 （r. 684, 705-710） went to the southern gate-tower of Luoyang by chariot to observe ＂cold-splashing barbarian plays＂ （pohan ...Late in 705, newly enthroned emperor of the freshly restored Tang dynasty Zhongzong 中宗 （r. 684, 705-710） went to the southern gate-tower of Luoyang by chariot to observe ＂cold-splashing barbarian plays＂ （pohan huxi 泼寒胡戏）. Several months later, a low-ranking minister, Lu Yuantai 吕元泰, drafted a memorial, contending, ＂If governance is proper, cold will follow its proper season. Why is it necessary for naked savages to drum and dance？＂ While the Zhongzong did not cancel the performance of these ＂barbarian plays,＂ Lu Yuantai＇s criticism set in motion a decade-long debate reflecting the rapidly changing discursive terrain of ethnicity, rulership, and religion. This paper will explore the nature of the debates and the surprisingly high stakes surrounding these so-called barbarian plays （huxi 胡戏） in the early eighth century.展开更多
This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt ha...This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt hat, an oilcloth a pelt headdress, or a theatrical striptease. With deep multicultural roots, the sumozhe （samaja） combined masquerade, ambulatory drama, dance, and music into a boisterous spectacle. In addition to examining the high cultural stakes underlying the public performance and imperial support （or prohibition） of these plays in early eighth century Tang China, this essay proposes a link between these hibernal festal dramas and Turkish Kose plays.展开更多
文摘While the historical works discussing the trading aspect of Sogdians are abundant,a relatively small amount of researches discuss the diasporic women who moved to China with their family members(usually husbands)who are traders.The Sogdian ancient letter is among the rare sources that provide women’s perspective in Sogdian diasporic society.This work analyses the multiple identities of Miwnay,the main woman character in the Sogdian ancient letter.This paper explores the underlying privileges of women and socially constructed restrictions posed upon women.This work compares Sogdian women’s situation implied in the letters with other women figures in sedentary communities’.In this work,Sogdian women’s high autonomy is shown despite male dominance on financial resource distribution.
文摘Late in 705, newly enthroned emperor of the freshly restored Tang dynasty Zhongzong 中宗 （r. 684, 705-710） went to the southern gate-tower of Luoyang by chariot to observe ＂cold-splashing barbarian plays＂ （pohan huxi 泼寒胡戏）. Several months later, a low-ranking minister, Lu Yuantai 吕元泰, drafted a memorial, contending, ＂If governance is proper, cold will follow its proper season. Why is it necessary for naked savages to drum and dance？＂ While the Zhongzong did not cancel the performance of these ＂barbarian plays,＂ Lu Yuantai＇s criticism set in motion a decade-long debate reflecting the rapidly changing discursive terrain of ethnicity, rulership, and religion. This paper will explore the nature of the debates and the surprisingly high stakes surrounding these so-called barbarian plays （huxi 胡戏） in the early eighth century.
文摘This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt hat, an oilcloth a pelt headdress, or a theatrical striptease. With deep multicultural roots, the sumozhe （samaja） combined masquerade, ambulatory drama, dance, and music into a boisterous spectacle. In addition to examining the high cultural stakes underlying the public performance and imperial support （or prohibition） of these plays in early eighth century Tang China, this essay proposes a link between these hibernal festal dramas and Turkish Kose plays.
