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Proquest Dissertations Deviance and Disorder: The Naked Body in Chinese Art Gabrielle Steiger Levine The Department of Art History and Communication Studies McGill University, Montreal August 2008 A thesis submitted to McGill University in partial requirement of the degree of Master of Arts © Gabrielle Steiger Levine 2008 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-53459-5 Our file Notre reference ISBN: 978-0-494-53459-5 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada Contents List of Illustrations 3 Acknowledgments 4 Abstract 5 Preface 7 Chapter 1: The Body in Art and Though 13 Chapter 2: Representing Deviance: The Penitent in Purgatory 35 Chapter 3: The Foreign Body: Demons in Representations of Zhong Kui...64 Chapter 4: Nakedness as Disorder: Zhou Chen's Beggars and Street Characters 92 Concluding Remarks 110 Works Cited 127 2 List of Illustrations Figure 1.1 Attributed to Gu Kaizhi, Admonitions of the Palace Instructress to the Palace Ladies (detail). Tang copy of a 4th to 5th (?) century work 33 Figure 1.2 Anonymous, Portrait ofNiZan, c. 1340 ....33 Figure 1.3 Anonymous, Portrait of the Ming Hongzhi Emperor, 16th century ....34 Figure 2.1 Anonymous, Hell Scenes, fragment of a wall painting from Bezeklik, 9th century 58 Figure 2.2 Anonymous, seventh illustration to The Scripture on the Ten Kings, 10th century 59 Figure 2.3 Anonymous, fifth illustration to The Scripture on the Ten Kings, 10th century 59 Figure 2.4 Workshops of Lu Xinzhong, The Seventh King, 13l century 60 Figure 2.5 Anonymous, Zhangyi Empress Li, Consort of Emperor Zhenzong, first half of the 11th century 61 Figure 2.6 Anonymous, Eighteen Scholars in a Garden, 15l century 62 Figure 2.7 Workshops of Lu Xinzhong, The Seventh King (detail), 13th century ...63 Figure 3.1 a-d Yan Hui, The New Year's Eve Excursion ofZhong Kui, early 14' 89-90 Figure 3.2 Zhou Chen, Zhong Kui Expelling Demons, mid-Ming Dynasty 91 Figure 4.1 a-I and figure 4.2 a-d Zhou Chen, Beggars and Street Characters, 1516 112-125 Figure 4.3 Zhu Yu, Street Scenes in Peace Time, mid-14th century 126 3 Acknowledgments While writing this thesis I have received help and support from a number of individuals and institutions without which I would not have seen the completion of this work. I am particularly grateful to the Department of Art History and Communication Studies at McGill University for giving me the opportunity to pursue my studies at the Master's level and for providing an environment of rich interdisciplinary studies and critical historical and theoretical research. Particularly, I am grateful to Professor Angela Vanhaelen and Professor Bronwen Wilson who were both extremely supportive of my work at the Master's level. I am also grateful to the Social Sciences and Humanities Research Council of Canada for the Master's scholarship I received in 2006. This scholarship afforded me the opportunity to continue my studies at McGill University. My supervisor, Professor Hajime Nakatani, has provided immeasurable support throughout the writing process of this thesis. This thesis must, in part, be attributed to the many hours he dedicated to it through personalized independent studies, during the writing process, and throughout the stages of revision. I could not have hoped to study under a more dedicated scholar. My friends and family have supported me throughout some of the most challenging moments of the writing process. To Arlene Steiger, David Levine, Benjamin Steiger Levine, Jessica Steiger Levine, Rose Plotek, Nick Schirmer and Alexandra Stevenson, I am eternally grateful. 4 Abstract This thesis concerns the representation of nakedness in traditional Chinese art. Its objects of inquiry are representations of demons in images of Zhong Kui, the penitent in purgatory in images of the ten kings based on The Scripture on the Ten Kings, and the representation of beggars and street characters. This thesis provides initial inquiry into a motif which has not garnered much scholarly attention. It argues that the naked body signified various forms of deviance from the normative social and moral order which defined traditional China and its inhabitants such as the foreign, the marginal, and the subaltern. As such, the representation of nakedness functioned to highlight order within the imperial realm by displaying what the Chinese center and its inhabitants were not. It could also serve, however, and by virtue of the naked body's deviance from the normative human being, to suggest potential disorder within the imperial realm. Cette these a pour sujet la nudite dans Tart Chinois traditionnel. Les sujets d'analyse traitent de la representation des demons dans l'imagerie de Zhong Kui, des penitents au purgatoire dans l'iconographie des dix rois basees sur le texte « The Scripture of the Ten Kings », ainsi que la representation des mendiants et les artistes de la rue. Cette these se penchera pour la premiere fois sur un theme qui n'a pas encore suscite l'interet de la communaute academique; celui de la nudite vue sous forme de non-conformisme, de non-appartenance a l'ordre moral et social qui definissait la Chine traditionnelle et ses habitants. Lorsque presente la nudite peut a la fois mettre en evidence l'ordre au sein de l'empire en affichant 5 l'image contraire de ses sujets, mais egalment demontrer le desordre potentiellement present. Preface This thesis concerns the representation of nakedness in traditional Chinese art. The objects of my analysis are representations of the penitent in purgatory, demons, beggars and street characters. My study investigates the use of the naked and semi-naked body to signify deviance from, and non-belonging to, normal society. As such, the collection and representation of nakedness, I argue, served two primary functions in traditional Chinese art. In certain pictorial genres, the naked body functioned to highlight order within the imperial realm by displaying what the normative human being and the Chinese cultural center were not. In other genres, the naked body, by virtue of its deviance, served as sign of disorder within the imperial center. Over the last few decades scholars concerned with the representation and conceptualization of the body in China have consistently examined not the reasons for the body's presence but the reasons for the body's overwhelming absence in the history of Chinese figurative representation. John Hay, for example, in an article written just over a decade ago, posited a question whose answer continues to define recent scholarship on the representation of the human body in Chinese art. In an influential essay, he asks, is "the body invisible in Chinese art?"1 Hay answers that what is absent in depictions of the human figure is "a particular kind of body."2 In his article, Hay contrasts the Western conceptualization of the body with its Chinese counterpart. He argues that the 1 John Hay, "The Body Invisible in Chinese Art?" in Body Subject and Power in China, eds. Angela Zito and Tani Barlow, 42-77 (Chicago: Chicago University Press, 1994), 42. 2 Hay, "The Body Invisible," 43. 7 paucity of representations of the human body in Chinese figurative painting is the consequence of the lack of a body understood as it is in the West. Hay argues that in the West the body is predominantly conceptualized "as a solid and well-shaped entity whose shapeliness is supported by the structure of a skeleton and defined in the exteriority of swelling muscle and enclosing flesh." This "particular kind of body," Hay argues, did not exist in China. Following Hay's initial inquiry, scholars have generally explained the absence of the naked body in Chinese figurative representation as a consequence of two dominant ontological frameworks which structured an understanding of the body that was vastly different from the body understood, as it often is in the West, as an anatomical object, geometrically demarcated in space and differentiated from all other objects. The first framework defined the body as existing in relation to external as well as internal phenomena and functioning analogously to larger patterns of change and transformation within the cosmos.
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