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A Required Taste
Tea Classics A Required Taste Tea Culture Among 16th Century Literary Circles as Seen Through the Paintings of Wen Zhengming 一 個 茶人: Michelle Huang 必 修 Some of the authors we are translating in this issue are very 品 well known to Chinese scholars and laymen alike. And even 味 if these specific authors weren’t known to a Chinese reader, 文 they at least would have studied enough Chinese history to contextualize these works in the Ming Dynasty: its culture, 徵 art and politics. Also, we only got to read parts of Wen’s 明 “Superfluous Things,” those having to do with tea, so this -ar 的 ticle on his life and times by our local Chinese art historian, Michelle, who has contributed to many past issues of Global 畫 Tea Hut, can help us all to construct a bit of Ming China in our imaginations and thereby enrich our reading of the texts. en Zhengming 文徵明 tivity for literary figures since the dawn most other gentlemen to work on his W (1470–1559) was a of civilization, the booming economy art and tea-related research. He wrote a famous artist in the late and the increasing availability of pub- systematic commentary on an existing Ming Dynasty in Suzhou, which was lic transportation since the 15th centu- work, the Record of Tea by Cai Xiang a hot spot for literary figures. He came ry in China made it easier for people (1012–1067),3 which was titled Com- from a family of generations of officials to travel longer distances. -
Zeng Jing's Informal Portraits of the Jiangnan Litera
UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
Clio's Scroll
The Berkeley Undergraduate History Journal DEPARTMENT OF HISTORY, UNIVIERSTY OF CALIFORNIA, BERKELEY Clio’s Scroll Vol.21 Fall 2019 No.1 Clio’s Scroll The Berkeley Undergraduate History Journal Vol. 21, No.1 Fall 2019 The Berkeley Undergraduate History Journal DEPARTMENT OF HISTORY, UNIVIERSTY OF CALIFORNIA, BERKELEY Clio’s Scroll Vol.21 Fall 2019 No.1 Contents 12 Editorial Board 4 Note from the Editors 3 5 Contributors Scelera Carnis: Same-sex Acts in Medieval Monasteries 6 Danielle O’Dea California State University, Channel Islands 331 Transmission Down Through the Centuries: The Transforming Social Dimensions Behind the Art of Remounting Chinese Scrolls Meishan Liang University of California, Berkeley 678 Cracks in the Great Wall of Chinatown: Reinventing Chinese American Identity in San Francisco’s Chinese New Year Celebrations Richard Lim University of California, Berkeley 9106 About Clio’s Scroll Clio’s Scroll, the Berkeley Undergraduate History Journal, is published twice yearly by students of the Department of History at the University of California, Berkeley. The journal aims to provide undergraduates with the opportunity to publish historical works and to train staff members in the editorial process of an academic journal. Clio’s Scroll is produced by financial support from the Townsend Center for the Humanities, the Associated Students of the University of California (ASUC), and the Department of History. Clio’s Scroll is not an official publication of the ASUC or UC Berkeley. The views expressed herein are solely those of the authors and do not necessarily represent those of the journal, the editors, the university, or sponsors. The Berkeley Undergraduate History Journal DEPARTMENT OF HISTORY, UNIVIERSTY OF CALIFORNIA, BERKELEY Clio’s Scroll Vol.21 Fall 2019 No.1 Editorial Board EDITOR-IN-CHIEF GERAINT HUGHES is a senior History and Classics double major, hoping to either go into International Relations or become a history professor (fingers crossed). -
The Tangible and Intangible Value of the Suzhou Classical Gardens
The tangible and intangible value of the Suzhou Classical Gardens YI Xueling Director of Suzhou Gardens and Landscaping Administration Bureau 255Gongyuan Road, Suzhou City, P.R.C [email protected] Abstract: The comment of United Nations Educational, Scientific and Cultural Organization to the Classical Gardens of Suzhou is that Classical Chinese garden design, which seeks to recreate natural landscapes in miniature, is nowhere better illustrated than in the nine gardens in the historic urban of Suzhou. They are generally acknowledged to be masterpieces of the genre. Dating from the 11th-19th century, the Gardens reflect the profound metaphysical importance of natural beauty in Chinese culture in their meticulous design. There exists special relation between tangible heritage and intangible of humane spirit of the Classical Gardens of Suzhou. The Gardens were not only a tangible product, but also an important carrier of the Chinese traditional culture. The Classical Gardens of Suzhou created a kind of urban living environment and architectural forms, embodying the ideas of the urban design and the living style, showing the people to pursue the profound spiritual comfort of the living environment, also were interrelated to the local custom. The intangible heritage of humane spirit is a good example that the people and the nature are in perfect harmony; also it is impacting on the tangible and spiritual requirements of today. The Classical Gardens of Suzhou, including the Humble Administrator’s Garden(i), the Lingering Garden(ii), the Master-of-Nets Garden(iii), and the Mountain Villa with Embracing Beauty(iv), were inscribed on the World Heritage List by the UNESCO’s World Heritage Committee at its 21st session, Naples, Italy, on December 4, 1997. -
Painting and Culture in Ming China
17/06/2010 Faculty of History FHS 2009-10 Special Subject: Painting and Culture in Ming China Professor Craig Clunas [email protected] Tel: 01865 286834 17/06/2010 Course outline: This course, which assumes no prior knowledge of Chinese art or culture, looks at the cultural role of painting as a practice in one specific historical period, that of the Ming dynasty (1368-1644). It will look at painting, long sanctioned by the Ming period as one of the four canonical leisure pursuits of the elite (along with calligraphy, music and a board game of strategy) from the point of view of both its production and its consumption, and will be based on readings of the extensive literature of the period in translation, along with a wide range of surviving pictures. These include not only the culturally sanctified monuments of so-called „literati‟ painting, associated with named elite figures for whom painting was part of a total cultural persona, but also the work of anonymous artisan painters, working for the imperial court and for clients drawn from a wider range of social statuses. Assessment: Candidates will be examined by means of a timed paper including compulsory passages for comment, and by means of an extended essay, which shall not exceed 6,000 words (including footnotes but excluding bibliography), and shall be on a topic or theme selected by the candidate from a question paper published by the examiners on the Friday of the fourth week of Michaelmas Term in the year of examination. Teaching pattern: There will be a weekly 2-hour class in Michaelmas Term 2009. -
CHEN-DISSERTATION-2017.Pdf (1.546Mb)
Collecting as Cultural Technique: Materialistic Interventions Into History in 20th Century China The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Chen, Guangchen. 2017. Collecting as Cultural Technique: Materialistic Interventions Into History in 20th Century China. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41141785 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Collecting as Cultural Technique: Materialistic Interventions into History in 20th Century China A dissertation presented by Guangchen Chen to The Department of Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Comparative Literature Harvard University Cambridge, Massachusetts May 2017 © 2017 Guangchen Chen All rights reserved. Dissertation Advisor: Professors David Damrosch and David Wang Guangchen Chen Collecting as Cultural Technique: Materialistic Interventions into History in 20th Century China Abstract This dissertation explores the interplay between the collecting of ancient artifacts and intellectual innovations in twentieth century China. It argues that the practice of collecting is an epistemological attempt or a “cultural technique,” as formulated by the German media theorist Bernhard Siegert, to grasp the world in its myriad materiality and historicity. Through experiments on novel ways to reconfigure objects and study them as media on which intangible experiences are recorded, collectors cling to the authenticity of past events, preserve memory through ownership, and forge an intimate relationship with these objects. -
A History of Reading in Late Imperial China, 1000-1800
A HISTORY OF READING IN LATE IMPERIAL CHINA, 1000-1800 DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Li Yu, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Galal Walker, advisor Professor Mark Bender Professor Cynthia J. Brokaw ______________________________ Professor Patricia A. Sieber Advisor East Asian Languages and Literatures ABSTRACT This dissertation is a historical ethnographic study on the act of reading in late imperial China. Focusing on the practice and representation of reading, I present a mosaic of how reading was conceptualized, perceived, conducted, and transmitted from the tenth to the eighteenth centuries. My central argument is that reading, or dushu, was an indispensable component in the tapestry of cultural life and occupied a unique position in the landscape of social history in late imperial China. Reading is not merely a psychological act of individuals, but also a set of complicated social practices determined and conditioned by social conventions. The dissertation consists of six chapters. Chapter 1 discusses motivation, scope, methodology, and sources of the study. I introduce a dozen different Chinese terms related to the act of reading. Chapter 2 examines theories and practices of how children were taught to read. Focusing on four main pedagogical procedures, namely memorization, vocalization, punctuation, and explication, I argue that the loud chanting of texts and the constant anxiety of reciting were two of the most prominent themes that ran through both the descriptive and prescriptive discourses on the history of reading in late imperial ii China. -
03 Clunas 0669
ASPECTS OF ART LECTURE Artist and Subject in Ming Dynasty China CRAIG CLUNAS A MAN SITS BENEATH a gnarled and leafless tree, on a bank overlooking a turbulent stretch of water (Fig. 1). His clothes, the long robe which cov- ers his lower limbs, show him to be of the class which does not labour manually, but otherwise there are few clues to his identity. He has nothing with him, no companions. The composition gives no clues as to where he came from; there is no path to his place of silent sitting, no suggestion as to how the space occupied by the viewer might be connected to his space, how we might get ‘there’ from ‘here’. Above all there is no background. The bank on which he rests appears to fall away precipitously behind him, and the picture lacks any intimations of distant human habitation, of social life, of what we might (in a dubiously linguistic metaphor) call ‘context’. This image comes from the first known work of art history to be illus- trated throughout with reproductions of works of art (as opposed to portraits of artists), from a book entitled ‘Master Gu’s Painting Album’ (Gu shi hua pu), which was published in 1603 by Gu Bing, a successful professional artist who had served the Ming imperial court in Beijing before returning to his native city of Hangzhou, in China’s cultural and economic heartland of the lower Yangtze valley.1 The 106 wood block print images in his book, each of which occupies the full area of a page Read at the Academy 3 November 1999. -
Chapter 2 the Production of Painting Inscriptions in Social Networks and Reciprocities
Cover Page The handle http://hdl.handle.net/1887/44098 holds various files of this Leiden University dissertation Author: Wenxin Wang Title: A social history of painting inscriptions in Ming China (1368-1644) Issue Date: 2016-10-26 65 Chapter 2 The Production of Painting Inscriptions in Social Networks and Reciprocities Chinese painters did not live in a vacuum. Even if Ming painting inscriptions were spontaneous creations of emotional and aesthetic expressions, we can accept that an overwhelming majority of Ming literati paintings were rooted in society. This chapter will explore the production of Ming painting inscriptions within various contexts: a clan, a private circle, and a local elite community. The analysis will focus on the crucial functions of 2 inscriptions to construct and manifest individual identity within all these categories of group. This chapter first scrutinizes the physicality of inscriptions in relation to three main painting formats. It will show that the creation and reception of an inscription are conditioned by characteristics peculiar to each painting format, and that social factors often underpinned the choice of style format. Based on these discussions of the material aspects, the second part of the chapter examines the specific social spaces that circumscribed the production of inscriptions. These spaces are: spaces of dwelling, spaces of convening, and spaces of reciprocity. I will explore how Ming inscribers employed inscriptions to negotiate the demands and obligations generated from these spaces, and how inscriptions enacted a role in people’s social lives. I will conduct two case studies. The first case study comprehensively illuminates inscriptions in spaces of dwelling and convening, while the second one primarily deals with reciprocal inscriptions. -
SE Kile Dissertation Final 2 17 2013
Toward an Extraordinary Everyday: Li Yu’s (1611-1680) Vision, Writing, and Practice Sarah E. Kile Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Sarah E. Kile All rights reserved ABSTRACT Toward an Extraordinary Everyday: Li Yu’s (1611-1680) Vision, Writing, and Practice Sarah E. Kile This dissertation considers how the literatus entrepreneur Li Yu (1610-1680) took advantage of the burgeoning market economy of early Qing China to engineer and market a new experience of the everyday. The world in which Li Yu’s cultural products were best sellers was rife with novelty. The Ming dynasty had collapsed in 1644, yet many of its defining features remained: urban centers brimmed with gadgets, both Chinese and foreign, that offered new possibilities for engaging the material world. The status of writing and the reading public was also changing, as more books were published at lower costs than ever before. Li Yu capitalized on this ripe moment to develop and sell cultural products that directed the focus of consumers to the details and possibilities of their everyday. I argue that through his cultural production, Li Yu changed what constituted cultural capital and who had rights to it in the urban centers of southern China in the early Qing. Li Yu made a brand of his name, which he used to market his fiction and drama as well as intangible products like innovative designs and do-it-yourself technologies. I examine the strategies that traverse the range of his cultural production to demonstrate how he altered the physical makeup of the built environment and the visual experience of theatrical performance, while also revising the ways that they could be represented in language and depicted in narrative. -
Moments in Earthly Paradise: Urban Life of the Cultural Elite in Ming Suzhou
Susan Su-chen Chang 張素貞 元培大學 應用英文系 Moments in Earthly Paradise: Urban Life of the Cultural Elite in Ming Suzhou Suzhou蘇州has been claimed to be a paradise on earth since the Northern Song dynasty (960-1127).1 It is located at the center of the Yangzi delta, close to the scenic Lake Tai太湖 (Fig. 1), in the southeast of present-day Jiangsu 江蘇province (Fig. 2). With its grain trade, its textile production, and the myriad of manufactured articles, and with its waterways that link the city to the Grand Canal and Yangzi River system, which means connection to the important cities of Northern and Southern China, it was the most prosperous city in the Ming dynasty (1368-1644).2 After the harsh years of the early Ming,3 its economy and urban life gradually resurged during the periods of Zhengtong 正統 (1436-1449) and Tianshun天順 (1457-1464) and substantially rejuvenated during the Chenghua 成化era (1465-1487).4 Suzhou was prosperous not only economically but also culturally during the late fifteenth to the mid-sixteenth century.5 It was home to a large number of famous scholars and artists. Among the cultural elite of the Ming dynasty, the most famous figures in painting were the so-called Four Great Masters of the Ming dynasty: Shen Zhou沉周 (1427-1509), Wen Zhengming文徵明 (1470-1559), Tang Yin 唐寅 (1479-1523), and Qiu Ying仇英 (c.1494-1552). They all resided around the Suzhou area and produced the most valued art, enjoyed the most luxurious life on earth and fashioned the taste of the empire at their time.6 The research works on Ming Suzhou by scholars of urban history, Yinong Xu, Michael Marme, Paolo Santangelo and F.W. -
The Rediscovery of Ming Yimin Ink Painting in Modern China, 1900-1949
Transnational Canon Formation: The Rediscovery of Ming Yimin Ink Painting in Modern China, 1900-1949 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Yanfei Zhu, M.A. Graduate Program in History of Art The Ohio State University 2013 Dissertation Committee: Professor Julia F. Andrews, Advisor Professor Kirk A. Denton Professor Lisa C. Florman Professor Christopher A. Reed Copyright by Yanfei Zhu 2013 Abstract This dissertation addresses modern Chinese ink painters’ use of seventeenth-century yimin art as a philosophical, aesthetic, and political vehicle for synchronizing the fundamental values of Chinese art with the modern world during the first half of the twentieth century. In this case, the polemical term “yimin” designates “leftover subjects” or loyalists to a previous fallen dynasty. “Ming yimin art” refers to the ink paintings done by a group of seventeenth-century individualist masters—among whom the most famous is Shitao (1642-1707)—whose paintings often appear expressive or abstract from a modern perspective. The rediscovery of this individualist art in a modern context was carried out almost simultaneously in China and Japan, and later spread to Europe and America. Employing a body of still understudied materials from art journals, museum archives, and artists’ writings to paintings, my study challenges the common misconception that early twentieth-century Chinese ink painters were conservative and their paintings outdated. I argue modern ink painters re-appropriated and canonized seventeenth-century individualist painting with a dual purpose not only to legitimize and prioritize the value of traditional ink aesthetics within an international art scene, but also to create an ink painting suitable to a new forward-looking Chinese culture.