2) late Tang and Five dynasties
晚唐五代
1.
The Research of Tripitaka of Three Circles Temple in Dunhuang of Late Tang and Five Dynasties;
晚唐五代敦煌三界寺藏经研究
2.
The Growth of Dunhuang Population of Buddhist Monks and Nuns in the Period of Late Tang and Five Dynasties as Well as Its Growth Reasons
晚唐五代时期敦煌地区僧尼人口的增长及原因探析
3.
Shuofang Han\' clan refers to the six governors of the Shuofang District who was in charge of both civil and military affairs,named hangong,hangzun,hanxun,hanzhu,hanpu and hancheng in Late Tang and Five dynasties.
朔方韩氏指晚唐五代担任朔方(灵武)节度使或留后的韩公、韩遵、韩逊、韩洙、韩璞、韩澄6人。
3) the late Tang Dynasty and Five Dynasties
晚唐五代
1.
Thus he created a style,which proved to be time-making in literature in the late Tang Dynasty and Five Dynasties.
温庭筠的独特个性与其混迹城市的浪子生活,使他比同时代人更早感受到时代变化的气息,并将其诉诸他的全部文学创作,在晚唐五代具有转型意义。
2.
Polygyny of the Gui-yi-Army of Dunhuang during the Late Tang Dynasty and Five Dynasties has not attracted scholars attention for a long time.
晚唐五代敦煌归义军节度使多妻制是学术界很少注意的问题,节度使多妻制的出现受到两方面因素的影响:一是吐蕃统治敦煌以来存在的多妻现象;二是归义军节度使通过多妻制达到与敦煌各个大姓之间联姻,以维护自己政权的目地。
4) the Late Tang and the Five Dynasties
晚唐五代
1.
Research on the History of the Spread and Acceptance of Du Mu s Poetry during the Late Tang and the Five Dynasties and the Song Dynasty;
杜牧诗歌在晚唐五代及两宋时期的传播接受史研究
5) Ci in the late Tang and the Five Dynasties
晚唐五代词
1.
The prominent influence of southern regional culture on Ci in the late Tang and the Five Dynasties,which is represented by Hua Jian Ji,is analyzed on the aspects of style,object,lyrical normal form and melody,etc.
在风格、常用物象、抒情范式、词调等方面分析了南方地域文化对以《花间集》为代表的晚唐五代词的显著影响。
6) the Late Tang and the Wu Dynasty
晚唐五代妇女
1.
By analysing and studying many examples of these ornaments, it also points out that the aesthetic value which was pursued by the women in the Late Tang and the Wu Dynasty is honour, elegence and complicacy.
本文着重对《花间集》中妇女的发型、发饰、冠饰、耳饰与额妆、眉妆、脸妆、唇妆等情形进行了举例、分析与研究 ,从中揭示了晚唐五代妇女在服饰方面追求雍容、华贵与复杂的审美风
补充资料：晚唐派
晚唐诗派
标榜学晚唐诗的近代诗派。领袖人物为樊增祥、易
顺鼎。他们着重学习晚唐诗人李商隐、温庭筠、韩□，
从韩□“香奁体”入手,好作艳体诗,追求对仗工巧，隶
事精切，词采富艳,诗风典赡华靡,工整绵丽。樊增祥自
称“性耽绮语”,“学诗自香奁体入”。学诗之初,“积
诗千数百首，大半小仓（袁枚）、瓯北（赵翼）体，其
余皆香奁体也”。又说“三十以前,颇嗜温、李,下逮西
□，即《疑雨集》、《香草笺》，亦所不薄”（《樊山
全集》续集第26卷）。易顺鼎诗以“近于温李者居多”，
“以学晚唐者为最佳”。近体诗“惟以裁对鲜新工整为
主”，晚年“益纵情于舞榭歌场”，诗“多冶游之作”
（陈衍《石遗室诗话》）。属于这一派的主要诗人还有
三多、李希圣、曹元忠等。
三多，字六桥，又署鹿樵、可园。满人。曾官绥远、
奉天都统，杭州、库伦驻防大臣。为樊增祥诗弟子，工
于隶事，极似樊。所不同者，诗多边地莽苍之气，善以
满蒙方言入诗。有《可园诗钞》。李希圣(1864～1905)，
字亦元。湖南湘乡人。光绪十八年(1892)进士，官刑部
主事。诗大多为七律，专学李商隐。有《雁影斋诗存》。
曹元忠，字君直。江苏吴县人。光绪二十年(1894)举人，
曾官内阁中书。诗亦专学李商隐，其工妙不下李希圣诗，
有《北游小草》。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条