This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
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This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. 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 author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Visualising Ethnicity in the Southwest Borderlands: Gender and Representation in Late Imperial and Republican China Jing ZHU Advisors: Dr. Stephen McDowall and Prof. Francesca Bray Doctor of Philosophy, History School of HCA, University of Edinburgh 2018 Abstract This thesis explores the mutual constitutions of visuality and empire from the perspective of gender, probing how the lives of China’s ethnic minorities at the southwest frontiers were translated into images. Two sets of visual materials make up its core sources: the Miao album, a genre of ethnographic illustration depicting the daily lives of non-Han peoples in late imperial China, and the ethnographic photographs found in popular Republican-era periodicals. The study highlights gender ideals within images and aims to develop a set of “visual grammar” of depicting the non-Han. Casting new light on a spectrum of gendered themes, including femininity, masculinity, sexuality, love, body and clothing, the thesis examines how the power constructed through gender helped to define, order, popularise, celebrate and imagine possessions of empire. In order to examine the visual transformations of images of non-Han, this study places the Miao albums and modern photographs side-by-side for comparison, revealing the different ways of seeing ethnic minorities when Han Chinese gender norms were de/reconstructed. The insights into the visual codes of gender also aim to place Chinese imperial models in a cultural context, testing how well the case of China fits into theories of empire generated mainly from European models. This thesis asks how imported imperial tools, in particular European technology and the science of human variations, were localised within the conceptualisation of nations in modern China. It also considers the relationship between text and image in historical analysis, uncovering the values of images to historians in novel ways. By taking an interdisciplinary approach, the thesis aims to contribute to the fields of gender, visual culture and imperial studies. I Table of Contents Abstract…………………………………………………………………………………………………………………I List of Illustrations………………………………………………………………………………………………..V Acknowledgement…………………………………………………………………………………………….XIV Introduction: The Chinese imperial model in the southwest borderland: gender, visuality and transitions………………………………………………………………………………………..1 0.1 Observational practices: detractor, defender and truth……………………………………………6 0.2 Ethnographic illustrations in Chinese history: long tradition, multiple genres and various pictorial practices............................................................................................................................13 0.3 Ways of seeing: a visual grammar of gender and the power of representation……….20 0.4 Empire and Image: engendering the ethnic minorities in China’s southwest borderland………………………………………………………………………………………………………………26 0.5 Imperial context: Native Chieftain system, Gaitu Guiliu and Miao rebellions…………..27 0.6 Wartime China: the reproduction of borderland images……………………………………….30 0.7 Chapter Organisation……………………………………………………………………………………….....34 Chapter one: Gender inversion and the power of representation: imagining and visualising ethnic minority women’s masculinity………………………………………………..38 1.1 Women in power: the fancy of images of “Nüguan 女官 (female government official)”……………………………………………………………………………………………………………..44 1.2 Interpreting “Nanyi Nülao 男逸女勞 (men relax, while women work)” as “Nangui Nüjian 男貴女賤 ( Men are exalted, while women are humble)”: defaming women’s work through space…………………………………………………………………………………………………………..54 1.3 The most respected women in China: refashioning images of Non-Han women at work in Republican China………………………………………………………………………………………………….65 1.4 China’s domestic feminists?: reinterpreting non-Han gender roles………………………..71 1.5 The essentialness of work: “women question” and family status…………………………….79 1.6 Concluding remarks……………………………………………………………………………………………83 Chapter Two: Dancing in the moonlight: fashioning sexuality of non-Han people..86 2.1 Naked female bodies: images of the Duanqun Miao and Shuibai Yi…………………………..92 2.2 Chuzi Shaungfu 處子霜婦 (the virgin and the widow): copulation and chastity……102 II 2.3 Dancing under the moonlight: marriage customs, rites and sexual regulation………112 2.4 Encountering sexuality: enlightenment plans and the diversity of representation…123 2.5 Refashioning moon dancing: the freedom of Lian’ai 戀愛 (love)…………………………128 2.6 A romantic land with freedom: Ze’ou 擇偶 (choice), Lihun 離婚 (divorce) and Taohun 逃婚 (escape before the wedding night)……………………………………………………138 2.7 Freedom, Xing 性 and women’s desire…………………………………………………………….145 2.8 Concluding remarks………………………………………………………………………………………….152 Chapter Three: Yiguan Zhuangmao 衣冠狀貌 (Clothes, hat, and physical body): Materialising and symbolising human variations……………………………………………...155 3.1 Delineating a typical non-Han face in the southwest: black skin, deep eyes, white teeth and hooked nose…………………………………………………………………………………………………….162 3.2 Highlighting Xianzu 跣足 (bare feet)………………………………………………………………...166 3.3 The hierarchy of dressing: the representation of the non-Han subject in simple and casual clothes………………………………………………………………………………………………………...172 3.4 Republican Anthropometric photography: new styles and the ambiguity of racial differences…………………………………………………………………………………………………………….178 3.5 Conceptualising and visualising an ethnographic body: the implications in China…185 3.6 Ambiguous attitudes towards ethnic classification: how should the statistics of body measurements be interpreted?...............................................................................................................193 3.7 Shengzhuang 盛裝 (Festival Costumes): new ways of visualising the non-Han……198 3.8 Collecting, exhibiting and preserving non-Han material culture…………………………..212 3.9 Concluding remarks………………………………………………………………………………………….217 Chapter Four: Imperial Images? Rethinking Miao albums and Ethnographic photography……………………………………………………………………………………………………..219 4.1 Zhengqi Haoyi 爭奇好異 (competing over eccentricity and chasing exoticism): the anxiety of pleasure……………………………………………………………………………………………224 4.2 Multiple Viewers: The Growing Market for Popular Ethnography…………………………230 4.3 Making Ethnographic Truth? The Paradox of Copying and the Participation of Artists in the Market Place……………………………………………………………………………………………234 III 4.4 Resurrection in Republican China: collection, preservation, reproduction and new styles………………………………………………………………………………………………………………..243 4.5 Beyond identity: Commercial ethnographic photography……………………………………253 4.6 Concluding remarks………………………………………………………………………………………….262 Conclusion………………………………………………………………………………………………………..266 Appendix: Table of Miao albums with collection date and original collector………274 Bibliography……………………………………………………………………………………………………..278 IV List of Illustrations 1.1 40 Zhao Jiuzhou 趙九洲, “Yaoren 猺人,” in an album of Yunnan Yingzhi Miaoman Tuce 雲 南營制苗蠻圖冊 (of 67 album leaves), undated (before 1820), Wellcome Trust Collection, London. 1.2 46 Anonymous, “Nüguan 女官,” in an album of Qiansheng Miaotu 黔省苗圖, undated (before 1917), Pitt Rivers Museum, Oxford. 1.3 47 Gao Luolian 高羅濂, “Nüguan 女官,” in an album of Manliao Tushuo 蠻獠圖說 (of 82 album leaves), undated (before 1892), Bodleian Library, University of Oxford. 1.4 48 Anonymous, “Nüguan 女官,” in an album of Luodian Yifeng 羅甸遺風 (of 20 album leaves), undated, British Library, London. (Series 16594). 1.5 53 Anonymous, “Nüguan 女官,” in an album of Miaozu Shenghuo Tu 苗族生活圖 (of 40 album leaves), Library of Princeton University, New Jersey. 1.6 55 Anonymous, “Luohei 倮黑,” in an album of Yiren Tuoshuo Mulu 夷人圖說目錄 (of 108 leaves), undated, Harvard-Yenching Rare Book Collections, Cambridge, MA. 1.7 56 Anonymous, “Bafan Miao 八番苗,” in an album of Miaoman Tuce 苗蠻圖冊 (of 82 album leaves), Library of Academic Sinica, Taipei. 1.8 60 Anonymous, “Langci Miao 郎慈苗,” in an album of Guizhou Bamiaotu 貴州八苗圖 (of 8 album leaves), undated, Library of Chinese Academy of Social Sciences, Beijing. 1.9 63 Jiao Bingzhen 焦秉貞, “Liansi 練絲,” in Yuzhi Gengzhi Tu 禦制耕織圖, 1696, Ink on paper, 24 x 24cm, Book leaf (of a book of 46 leaves), Collections of the British Library, London. (1949,0709,0.1). 1.10 64 V Jiao Bingzhen 焦秉貞, “Chayang 插秧,” in Yuzhi Gengzhi Tu, Collections of the British Library, London. 1.11 66 Zhuang Xueben 莊學本, Photography of working scenes of “Tufan 吐蕃,” Liangyou 良友, 112 (1935): 15. 1.12 67 Anonymous, Photography of “Dianbian Baiyi 滇邊擺夷,” Zhonghua 中華, 76 (1940): 38. 1.13 68 Yong Shiheng 勇士衡, Yunnan Luohei Furen Zhibu 雲南倮黑婦人織布, Photography, 6 x 6 cm, 1936, Collection of Academia Sinica, Taipei. (LH.048) 1.14