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Figure 1 1 Silly Stupid Lion Head The Lion in Chinese Space and Social Life A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Min-Chia Young Faculty of the Built Environment The University of New South Wales Sydney, Australia June 2009 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Young First name: Min-Chia Other name/s: Abbreviation for degree as given in the University calendar: PhD School: Architecture Faculty: The Faculty of the Built Environment Title: The Lion in Chinese Space and Social Life Abstract 350 words maximum: (PLEASE TYPE) This thesis is a systematic examination from a historical point of view of the rich diversity of forms and images of the lion motif in Chinese space and social life. Drawing on textual, linguistic and archaeological sources, it addresses the fundamental problem inherent in the study of the lion motif in China, that is, why a foreign import was adopted, transformed and assimilated into an existing culture and how it was then widely rendered in various forms and images as though it had been an indigenous image all along. The examination begins with a search for the origins, names for and appearance of the real lion in China and a comparison of this with the images, roles and powers of the ideological lion in the Chinese mind. It proceeds through an investigation into the liking of the ruling class for lions as tomb guardian beasts in their search for a better afterlife. The thesis then focuses on the adoption of the lion motif by ordinary people as a means of approaching the divine and gaining recognition, in the process of which the image of a ferocious beast was gradually transformed into that of a rotund pet. The pet-like “look” of the lion came to be associated with various vernacular cultures of Southern China and assumed a unique style during Ming (1368–1644), when the form and image of the animal became a living concept with little emphasis on its physical appearance. In other words, what perpetuated the significant role of the lion in Chinese space and social life was its conceptual image, not its physical shape. Two case studies, one based in Kinmen and the other in Sydney, further demonstrate that the physical appearance of the lion motif has little effect on the power and mechanism of the mighty animal in the Chinese mind. What matters most, when placing the lion motif in front of an entry way, is the reiteration or reenactment of the conceptual image of the lion through symbols, rituals and “traditional” beliefs by which this particular animal motif has become an enduring legacy of Chinese communities around the world. The thesis, then, summarises the changes in the lion motif and its transformation from a physical object to a living concept free from image and form constraints as a gradual process of Chinese perception that integrated the real animal with the imagined animal, strange and unfamiliar phenomena, and the dominant and popular cultures. The context of this integration may have been significantly influenced by the bureaucratic metaphor of the ruling class. The lasting meaning and significance of the lion motif, however, is due to the vision and determination of ordinary people, who are as much prone to seeking a comfortable space and the promise of a better life as have been their rulers. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... Originality Statement I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others with whom I have worked at UNSW or elsewhere is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged. Signed ……………………………………………........... Date ……………………………………………........... 2 Abstract This thesis is a systematic examination from a historical point of view of the rich diversity of forms and images of the lion motif in Chinese space and social life. Drawing on textual, linguistic and archaeological sources, it addresses the fundamental problem inherent in the study of the lion motif in China, that is, why a foreign import was adopted, transformed and assimilated into an existing culture and how it was then widely rendered in various forms and images as though it had been an indigenous image all along. The examination begins with a search for the origins, names for and appearance of the real lion in China and a comparison of this with the images, roles and powers of the ideological lion in the Chinese mind. It proceeds through an investigation into the liking of the ruling class for lions as tomb guardian beasts in their search for a better afterlife. The thesis then focuses on the adoption of the lion motif by ordinary people as a means of approaching the divine and gaining recognition, in the process of which the image of a ferocious beast was gradually transformed into that of a rotund pet. The pet-like “look” of the lion came to be associated with various vernacular cultures of Southern China and assumed a unique style during Ming (1368–1644), when the form and image of the animal became a living concept with little emphasis on its physical appearance. In other words, what perpetuated the significant role of the lion in Chinese space and social life was its conceptual image, not its physical shape. Two case studies, one based in Kinmen and the other in Sydney, further demonstrate that the physical appearance of the lion motif has little effect on the power and mechanism of the mighty animal in the Chinese mind. What matters most, when placing the lion motif in front of an entry way, is the reiteration or reenactment of the conceptual image of the lion through symbols, rituals and “traditional” beliefs by which this particular animal motif has become an enduring legacy of Chinese communities around the world. The thesis, then, summarises the changes in the lion motif and its transformation from a physical 3 object to a living concept free from image and form constraints as a gradual process of Chinese perception that integrated the real animal with the imagined animal, strange and unfamiliar phenomena, and the dominant and popular cultures. The context of this integration may have been significantly influenced by the bureaucratic metaphor of the ruling class. The lasting meaning and significance of the lion motif, however, is due to the vision and determination of ordinary people, who are as much prone to seeking a comfortable space and the promise of a better life as have been their rulers. 4 Acknowledgements I would like to express my deepest gratitude to Professor Xing Ruan. This thesis would not have been completed without his constant support and invaluable guidance.
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