Ming Articles on History in Less-Obvious Venues (MAHLOV) May 6, 2018
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Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901
Hwang, Yin (2014) Victory pictures in a time of defeat: depicting war in the print and visual culture of late Qing China 1884 ‐ 1901. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18449 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. VICTORY PICTURES IN A TIME OF DEFEAT Depicting War in the Print and Visual Culture of Late Qing China 1884-1901 Yin Hwang Thesis submitted for the degree of Doctor of Philosophy in the History of Art 2014 Department of the History of Art and Archaeology School of Oriental and African Studies, University of London 2 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen 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 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
Xue Susu (1573-Ca.1650) Was a Courtesan Who Lived in the Final Years of the Ming Dynasty
ESTEEMED LINK: AN ARGUMENT FOR XUE SUSU AS LITERATI A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2011 By Cordes McMahan Hoffman Thesis Committee: Kate Lingley, Chairperson John Szostak Paul Lavy Xue Susu (1573-ca.1650) was a courtesan who lived in the final years of the Ming dynasty (1368-1644). She was a multi-faceted artist, known for her painting, poetry and heroic personal- ity. An active participant in literati culture for most of her life, Xue’s body of work contains sev- eral outstanding paintings which demonstrate her grasp of the artistic concerns of literati painting practice at that time. Modern scholarship of Chinese women artists is a growing field, and it is now unthinkable to exclude women in the broad category of Chinese painting. However, examinations of individual artists, have been limited. For example, Xue Susu has been the subject of articles by Tseng Yu- ho (Betty Ecke); she was featured in an encyclopedic exhibition of Chinese women painters titled Views from Jade Terrace: Chinese Women Artists 1300-1912, and she is listed in several survey texts of Chinese art history.1 These considerations of Xue Susu demonstrate that modern scholarship acknowledges her as a talented painter. However, Xue is usually only considered in aggregate with other women painters with the grouping, gender being the primary identifier for artistic identity. The problem at hand then becomes that the majority of Xue Susu’s surviving work is dissimilar in stylistic choice to the general group of female painters of her era. -
Life, Thought and Image of Wang Zheng, a Confucian-Christian in Late Ming China
Life, Thought and Image of Wang Zheng, a Confucian-Christian in Late Ming China Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Ruizhong Ding aus Qishan, VR. China Bonn, 2019 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: Prof. Dr. Dr. Manfred Hutter, Institut für Orient- und Asienwissenschaften (Vorsitzender) Prof. Dr. Wolfgang Kubin, Institut für Orient- und Asienwissenschaften (Betreuer und Gutachter) Prof. Dr. Ralph Kauz, Institut für Orient- und Asienwissenschaften (Gutachter) Prof. Dr. Veronika Veit, Institut für Orient- und Asienwissenschaften (weiteres prüfungsberechtigtes Mitglied) Tag der mündlichen Prüfung：22.07.2019 Acknowledgements Currently, when this dissertation is finished, I look out of the window with joyfulness and I would like to express many words to all of you who helped me. Prof. Wolfgang Kubin accepted me as his Ph.D student and in these years he warmly helped me a lot, not only with my research but also with my life. In every meeting, I am impressed by his personality and erudition deeply. I remember one time in his seminar he pointed out my minor errors in the speech paper frankly and patiently. I am indulged in his beautiful German and brilliant poetry. His translations are full of insightful wisdom. Every time when I meet him, I hope it is a long time. I am so grateful that Prof. Ralph Kauz in the past years gave me unlimited help. In his seminars, his academic methods and sights opened my horizons. Usually, he supported and encouraged me to study more fields of research. -
The Diary of a Manchu Soldier in Seventeenth-Century China: “My
THE DIARY OF A MANCHU SOLDIER IN SEVENTEENTH-CENTURY CHINA The Manchu conquest of China inaugurated one of the most successful and long-living dynasties in Chinese history: the Qing (1644–1911). The wars fought by the Manchus to invade China and consolidate the power of the Qing imperial house spanned over many decades through most of the seventeenth century. This book provides the first Western translation of the diary of Dzengmeo, a young Manchu officer, and recounts the events of the War of the Three Feudatories (1673–1682), fought mostly in southwestern China and widely regarded as the most serious internal military challenge faced by the Manchus before the Taiping rebellion (1851–1864). The author’s participation in the campaign provides the close-up, emotional perspective on what it meant to be in combat, while also providing a rare window into the overall organization of the Qing army, and new data in key areas of military history such as combat, armament, logistics, rank relations, and military culture. The diary represents a fine and rare example of Manchu personal writing, and shows how critical the development of Manchu studies can be for our knowledge of China’s early modern history. Nicola Di Cosmo joined the Institute for Advanced Study, School of Historical Studies, in 2003 as the Luce Foundation Professor in East Asian Studies. He is the author of Ancient China and Its Enemies (Cambridge University Press, 2002) and his research interests are in Mongol and Manchu studies and Sino-Inner Asian relations. ROUTLEDGE STUDIES -
History, Background, Context
42 History, Background, Context The history of the Qing dynasty is of course the history of hundreds upon hundreds of millions of people. The volume, density, and complexity of the information contained in this history--"history" in the sense of the totality of what really happened and why--even if it were available would be beyond the capacity of any single individual to comprehend. Thus what follows is "history" in another sense--a selective recreation of the past in written form--in this case a sketch of basic facts about major episodes and events drawn from secondary sources which hopefully will provide a little historical background and allow the reader to place Pi Xirui and Jingxue lishi within a historical context. While the history of the Qing dynasty proper begins in 1644, history is continuous. The Jurchen (who would later call themselves Manchus), a northeastern tribal people, had fought together with the Chinese against the Japanese in the 1590s when the Japanese invaded Korea. However in 1609, after a decade of increasing military strength, their position towards the Chinese changed, becoming one of antagonism. Nurhaci1 努爾哈赤 (1559-1626), a leader who had united the Jurchen tribes, proclaimed himself to be their chieftain or Khan in 1616 and also proclaimed the 1See: ECCP, p.594-9, for his biography. 43 founding of a new dynasty, the Jin 金 (also Hou Jin 後金 or Later Jin), signifying that it was a continuation of the earlier Jurchen dynasty which ruled from 1115-1234. In 1618, Nurhaci led an army of 10,000 with the intent of invading China. -
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. -
^ for Immediate Release
^ For immediate release EXHIBITION: Ming Masterpieces From the Shanghai Museum ON VIEW: March 3–June 2, 2013 LOCATION: Hammer Building, Level 2 LACMA presents ten paintings from the Ming Dynasty, most of which have never been shown in the United States Ming Masterpieces marks LACMA’s first exhibition exchange with the Shanghai Museum (Image Captions on page 3) (Los Angeles–February 13, 2013) The Los Angeles County Museum of Art (LACMA) presents Ming Masterpieces from the Shanghai Museum , featuring ten early Ming dynasty court paintings executed in the fifteenth and early sixteenth centuries all from the permanent collection of the Shanghai Museum. Ming Masterpieces marks LACMA’s first exhibition exchange with the Shanghai Museum as part of an ongoing partnership and explores the role of imperial patronage in Ming dynasty painting, the uses of paintings as political propaganda, Daoist themes of transcendence, and the revival of Song dynasty (eleventh through the thirteenth centuries) painting styles in the early Ming period. The exhibition is organized by Stephen Little, head curator of Chinese and Korean Art at LACMA. Ming Masterpieces provides a unique opportunity to view iconic examples of Chinese painting from this period, a largely unrepresented area within U.S. institutions. The exhibition helps position LACMA as a major resource for the study and display of Chinese paintings. Under the guidance of Christina Yu, assistant curator of Chinese and Korean Art at LACMA, the museum reinstalled its permanent galleries for Chinese art in 2011. Chinese art will continue to feature in the museum's exhibition program with two more special exhibitions planned for 2014. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. -
Sesshū Tōyō's Selective Assimilation of Ming Chinese
SESSHŪ TŌYŌ’S SELECTIVE ASSIMILATION OF MING CHINESE PAINTING ELEMENTS by HUI FANG A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts March 2013 THESIS APPROVAL PAGE Student: Hui Fang Title: Sesshū Tōyō’s Selective Assimilation of Ming Chinese Painting Elements This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Charles Lachman Chairperson Akiko Walley Member Maram Epstein Member and Kimndr Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2013 ii © 2013 Hui Fang iii THESIS ABSTRACT Hui Fang Master of Arts Department of the History of Art and Architecture March 2013 Title: Sesshū Tōyō’s Selective Assimilation of Ming Chinese Painting Elements Sesshū Tōyō (1420-1506) was a preeminent Japanese monk painter who journeyed to China in the mid-fifteenth century. This thesis focuses on a diptych of landscape paintings by Sesshū, Autumn and Winter Landscapes 秋冬山水図 (Shūtou sansui zu), to analyze how Sesshū selectively synthesized traditions of Chinese painting tradition that had already been established in Japan and the art conventions he discovered in fifteenth-century China. To contextualize this topic, this thesis explores the revival of the Southern Song (1127-1279) painting tradition which had impacts on both contemporary Chinese painters and landscape painters in Japan during the fifteenth century. -
(2), July 2018 ISSN 2048-0601 © British Association for Chinese Studies
Journal of the British Association for Chinese Studies, Vol. 8 (2), July 2018 ISSN 2048-0601 © British Association for Chinese StuDies Empire and Visual Pleasure: Reinterpreting the Miao Albums of Yunnan and Guizhou Jing Zhu Science Museum, London Abstract Traditional scholarship has emphasised the intimate link between the Miao album, a genre of illustration to emerge from colonial expansion in southwest China, and political control. Through a careful reading of evidence collected from prefaces, poems, novels, travel accounts and local gazetteers, this paper argues that these albums were also popularised in the marketplace and viewed for pleasure by consumers who included a far wider section of the population than local government officials alone. Divided into three main sections, it firstly brings the pleasure and curiosity dimensions of Miao albums to the fore; it then argues for a diversity of consumers of these albums than has hitherto been acknowledged, and finally, by probing the process of how and by whom Miao albums were produced, it highlights the participation of professional artists and the widespread practice of copying. Through the decentralisation of the political function of Miao albums, this paper offers new ways of viewing Chinese imperial images within the context of popular culture. Keywords: Miao albums, ethnicity, Yunnan, Guizhou, pleasure, imperialism. One of the more fascinatinG proDucts of China’s colonial expansion into Yunnan anD Guizhou in the late-imperial perioD was the Baimiao tu (Miao album), a Genre of ethnoGraphic illustration DepictinG the boDies, cultures anD environments of various ethnic minorities of the southwest. SymbolisinG the growing Direct bureaucratic regime of the Ming anD Qing Dynasties (Giersch, 2006: 71-82; Hostetler, 2001; Herman, 2007; Sutton, 2003: 105-152), Miao albums epitomise the intimate correlation between imperial power anD visual reGimes. -
Studies in Late Qing Dynasty Battle Paintings*
HONGXING ZHANG STUDIES IN LATE QING DYNASTY BATTLE PAINTINGS* PART ONE DOCUMENTS FOR FOUR CHINESE BATTLE PAINTINGS IN WESTERN COLLECTIONS n his seminal work on European culture in the late medieval period, Johan Huizinga (1872-1945) I observed that history has always been more possessed by the problem of origins and development than by those of decline and fall. He writes: "When studying any period, we are always looking for the promise of what the next is to bring."' This observation still holds true if applied to the study of nineteen-century Chinese art, a burgeoning field in recent years. Thus, in art historical discourse on this period, much attention has been given to the search for the origins of modern Chinese culture. Many works have focused on the artistic productions shaped by new cultural forces, such as Sino-west- ern pictures, popular prints, early photography, and above all paintings of the Shanghai School. The nineteenth century has been treated as if it had been no more than the infancy of modern China. Con- sequently, the contemporary court cultural production has been largely neglected. Since the art at the late Qing court has been so poorly studied that reliable dates and attributions have not been established for even the most important artworks commissioned by the Manchu court, I want to postpone the reappraisal of the nature of the Chinese art during the nineteenth century. The present study considers dating and attribution problems of four large battle paintings in Western col- lections - one painting in the Mrs. Cecile McTaggart Collection, Edmonton, Alberta, Canada (fig.