Along the River During the Qingming Festival 清明上河圖

Along the River During the Qingming Festival (simplified Chinese: 清明上河图; traditional Chinese: 清明上河圖; pinyin: Qīngmíng Shànghé Tú) is a panoramic painting by Song Dynasty artist Zhang Zeduan (1085–1145). It captures the daily life of people from the Song period at the capital, Bianjing, today's Kaifeng. The theme celebrates the festive spirit and worldly commotion at the Qingming Festival, rather than the holiday's ceremonial aspects, such as tomb sweeping and prayers. The entire piece was painted in hand scroll format and the content reveals the lifestyle of all levels of the society from rich to poor as well as different economic activities in rural areas and the city. It offers glimpses of period clothing and architecture. As an artistic creation, the piece has been revered and court artists of subsequent dynasties have made several re-interpretive replicas. The painting is also known for its geometrically accurate images of variety natural elements and architectures, boats and bridges, market place and stores, people and scenery. It is often considered to be the most renowned work among all Chinese paintings, and it has been called "China's Mona Lisa."
Over the centuries, the Qingming scroll was collected and kept among numerous private owners, before it eventually returned to public ownership. The painting was a particular favorite of emperor Puyi, who took the Song Dynasty original (24.8 by 528.7 cm) (9¾ in by 17 ft 4 in) with him to Manchukuo. It was later re-purchased in 1945 and kept at the Palace Museum in the Forbidden City.
About 20 to 30 variations on this topic by artists of subsequent dynasties were made. Several Ming and Qing versions can be found in public and private collections around the world. Each version follows the overall composition of the original fairly faithfully, however, the details often vary widely. The Song Dynasty original and the Qing version, in the Beijing and Taipei Palace Museums respectively, are regarded as national treasures and are exhibited only for brief periods every few years. For instance, the wait in Beijing to see the painting was three and a half hours.


Indosphere


Indosphere is a subgrouping of Tibeto-Burman languages as defined by linguist James Matisoff, which includes languages that are typologically and morphologically a closeness to Indo-Aryan languages. It is commonly used in areal linguistics in contrast with Sinosphere, which refers to Tibeto-Burman languages that bear a closeness to the Chinese language.

The Tibeto-Burman family of languages, which extends over a huge geographic range, is characterized by great typological diversity, comprising languages that range from the highly tonal, monosyllabic, analytic type with practically no afflixational morphology, like Loloish, to marginally tonal or atonal languages with complex systems of verbal agreement morphology, like the Kiranti group of Nepal. This diversity is partly to be explained in terms of areal influences from Chinese on the one hand and, Indo-Aryan languages on the other. Two large subgroupings formed by areal contact can be distinguished within Tibeto-Burman — the Sinosphere and the Indosphere. These spheres were proposed by Matisoff as a combination of cultural and linguistic features. A buffer zone between them as a third group was proposed by Kristine A. Hildebrandt, followed by B. Bickel and J. Nichols. Matisoff grouped the languages in the family into the Sinosphere and the Indosphere due to the linguistic and political influence of China and India, respectively, on the languages. Languages of the Indosphere are spoken in the region where Indic languages are the dominant.

Some languages and cultures firmly belong to one or the other. For example, the Munda and Khasi branches of Austro-Asiatic languages, the Tibeto-Burman languages of Eastern Nepal, and much of Kamarupan branch of Tibeto-Burman, which most notably includes Meitei (Manipuri) are Indospheric; while the Hmong–Mien family, the Kam–Sui branch of Kadai, the Loloish branch of Tibeto-Burman, and Vietnamese (Viet–Muong) are Sinospheric. Some other languages, like Thai and Tibetan, have been influenced by both Chinese and Indian culture at different historical periods. Still other linguistic communities are so remote geographically that they have escaped significant influence from either. For example, the Aslian branch of Mon–Khmer in Malaya, or the Nicobarese branch of Mon–Khmer in the Nicobar Islands of the Indian Ocean show little influence by Sinosphere or Indosphere. The Bodish languages and Kham languages are characterized by hybrid prosodic properties akin to related Indospheric languages towards the west and also Sinospheric languages towards the east. Some languages of the Kiranti group in the Indosphere rank among the morphologically most complex languages of Asia.

Indian cultural, intellectual, and political influence — especially that of Devanagari writing system — began to penetrate both insular and peninsular Southeast Asia about 2000 years ago. Indic writing systems were adopted first by Austronesians, like Javanese and Cham, and Austroasiatics, like Khmer and Mon, then by Tai (Siamese and Lao) and Tibeto-Burmans (Pyu, Burmese, and Karen). Indospheric languages are also found in Mainland Southeast Asia (MSEA), defined as the region encompassing Laos, Cambodia, and Thailand, as well as parts of Burma, Peninsular Malaysia and Yunnan. Related scripts are also found in South East Asian islands ranging from Sumatra, Java, Bali, south Sulawesi and most of the Philippines. The learned components of the vocabularies of Khmer, Mon, Burmese and Thai/Lao consist of words of Pali or Sanskrit origin. Indian influence also spread north to the Himalayan region. Tibetan has used Devanagari writing since 600 AD, but has preferred to calque new religious and technical vocabulary from native morphemes rather than borrowing Indian ones. The Cham empires, known collectively as Champa, which were founded around the end of 2nd century AD, belonged directly to Indosphere of influence, rather than to the Sinosphere which shaped so much of Vietnamese culture and by which Chams were influenced later and indirectly.

Languages in the "Sinosphere" (roughly Southeast Asia) tend to be analytic, with little morphology, monosyllabic or sesquisyllabic lexical structures, extensive compounding, complex tonal systems, and serial verb constructions. Languages in the "Indosphere" (roughly the Himalayas and South Asia) tend to be more aggluntinative, with polysyllabic structures, extensive case and verb morphology, and detailed markings of interpropositional relationships. Manange (like other Tamangic languages) is an interesting case to examine in this regard, as geographically it fits squarely in the "Indospheric" Himalayas, but typologically it shares more features with the "Sinospheric" languages. Tibeto-Burman languages spoken in the Sinosphere tend to be more isolating, while those spoken in the Indosphere tend to be more morphologically complex.

Many languages in the western side of the Sino-Tibetan family, which includes the Tibeto-Burman languages, show significant typological resemblances with other languages of the South Asia, which puts them in the group of Indosphere. They often have heavier syllables than found in the east, while tone systems, though attested, are not as frequent. Indospheric languages are often toneless and/or highly suffixal. Often there is considerable inflectional morphology, from fully developed case marking systems to extensive pronominal morphology found on the verb. These languages generally mark a number of types of inter-casual relationships and have distinct construction involving verbal auxiliaries. Languages of the Indosphere typically display retroflex stop consonants, postsentential relative clauses and the extended grammaticalization of the verb say. In Indospheric languages, such as the Tibeto-Burman languages of Northeast India and Nepal, for example, the development of relative pronouns and corelative structures, as well as of retroflex initial consonants, is found often.


Sinosphere


In areal linguistics, Sinosphere (simplified Chinese: 汉字文化圈; traditional Chinese: 漢字文化圏; pinyin: Hànzì Wénhuà Quān; literally "Chinese character culture circle") refers to a grouping of countries and regions that are currently inhabited with a majority of Chinese population or were historically under Chinese cultural influence. The linguist James Matisoff coined the term "Sinosphere" in 1990, contrasting with the Indosphere, "I refer to the Chinese and Indian areas of linguistic / cultural influence in Southeast Asia as the 'Sinosphere' and the 'Indosphere'."

The terms Chinese cultural sphere and Chinese character cultural sphere are used interchangeably with "Sinosphere" but have different denotations. Chinese cultural sphere denotes a grouping of countries, regions, and people which have participated in or been heavily influenced by the Culture of China, such as Tibet or Sichuan. Countries such as Japan or Viet Nam which historically or currently made some use of the Chinese writing system. However Vietnam has departed significantly due to its wide adoption of Quốc ngữ, the romanized Vietnamese alphabet. For Mainland Southeast Asia (MSEA) the term has been glossed as "Sinosphere: a socio-political sphere of MSEA, subsuming those countries, cultures, and languages that have historically come under influence from the politics, culture, religion, and languages of China (notably Vietnam, Southwestern China, northern parts of Laos, as well as most urban centers in MSEA)."

The Sinosphere is generally unified by first written language ability in Chinese. This defines the unifying factor as the influence of traditional Chinese cultural beliefs, marked by Confucianist social and moral ethics, Taoist or Mahayana Buddhist religious beliefs, as embodied in text using Chinese characters (Hanzi in Chinese, Hán tự in Vietnamese, hanja in Korean and kanji in Japanese) whether within China proper or in a peripheral culture before it emerged from the dominance of the center.

Others indicators are Calligraphy (writing brush, writing ink, Rice paper and Inkstone), painting, sculpture, architecture (Ornament), clothing, music(musical instruments), cuisine (eating utensils, ingredients and cooking methods), logic (Confucianism), political system, appliance (furniture, art crafts) and so on, which generally believed to be originated in ancient China.