1 Emperor Versus Moral Exemplar: Huang Daozhou's (1585-1646)
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Chapter 5 Sinicization and Indigenization: the Emergence of the Yunnanese
Between Winds and Clouds Bin Yang Chapter 5 Sinicization and Indigenization: The Emergence of the Yunnanese Introduction As the state began sending soldiers and their families, predominantly Han Chinese, to Yunnan, 1 the Ming military presence there became part of a project of colonization. Soldiers were joined by land-hungry farmers, exiled officials, and profit-driven merchants so that, by the end of the Ming period, the Han Chinese had become the largest ethnic population in Yunnan. Dramatically changing local demography, and consequently economic and cultural patterns, this massive and diverse influx laid the foundations for the social makeup of contemporary Yunnan. The interaction of the large numbers of Han immigrants with the indigenous peoples created a 2 new hybrid society, some members of which began to identify themselves as Yunnanese (yunnanren) for the first time. Previously, there had been no such concept of unity, since the indigenous peoples differentiated themselves by ethnicity or clan and tribal affiliations. This chapter will explore the process that led to this new identity and its reciprocal impact on the concept of Chineseness. Using primary sources, I will first introduce the indigenous peoples and their social customs 3 during the Yuan and early Ming period before the massive influx of Chinese immigrants. Second, I will review the migration waves during the Ming Dynasty and examine interactions between Han Chinese and the indigenous population. The giant and far-reaching impact of Han migrations on local society, or the process of sinicization, that has drawn a lot of scholarly attention, will be further examined here; the influence of the indigenous culture on Chinese migrants—a process that has won little attention—will also be scrutinized. -
Of Ouyang Xiu's Literary Work: from the Perspective of Emotion
The "World" of Ouyang Xiu's Literary Work: From the Perspective of Emotion By: Seong Lin Ding (Paper presented at the 4th International Conference of Literary Communication and Literary Reception held on 25-29 March 2010 in Hualien, Taiwan) The "World" of Ouyang Xiu's Literary Work: From the Perspective of Emotion Seong Lin Ding University of Malaya There are numerous researches on the biography of Ouyang Xiu; however the focus on his inner emotion is scarce. In my point of view, this aspect is actually the focal point of his life and is strongly reflected in most of his writings; from his memory of mentors and friends, his remembrance on the places visited, his writing on history, to his collections of ancient bronzes and stone tablets, his emotion is always the crucial part of his reflection and value judgment. This emotional state evolved continuously at his different period of life and different stages of writings. It was undoubtedly affected by his maturity in age and life experience but his physical, psychological and temperament conditions are the more prominent affecting factors. As a result, we can find a gap between the "Ouyang Xiu" shown in the biography and Chinese literary history compared with the "Ouyang Xiu" enshrined in his literary work. This might due to the objectivity underlined in biography and the emotional subjectivity underlined in literary works. More interestingly, the former is about reality of life and the latter is about "world" of literary works, which is not an objective reality, but was actually organized and experienced by an individual subject. -
Shanghai, China's Capital of Modernity
SHANGHAI, CHINA’S CAPITAL OF MODERNITY: THE PRODUCTION OF SPACE AND URBAN EXPERIENCE OF WORLD EXPO 2010 by GARY PUI FUNG WONG A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOHPY School of Government and Society Department of Political Science and International Studies The University of Birmingham February 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines Shanghai’s urbanisation by applying Henri Lefebvre’s theories of the production of space and everyday life. A review of Lefebvre’s theories indicates that each mode of production produces its own space. Capitalism is perpetuated by producing new space and commodifying everyday life. Applying Lefebvre’s regressive-progressive method as a methodological framework, this thesis periodises Shanghai’s history to the ‘semi-feudal, semi-colonial era’, ‘socialist reform era’ and ‘post-socialist reform era’. The Shanghai World Exposition 2010 was chosen as a case study to exemplify how urbanisation shaped urban experience. Empirical data was collected through semi-structured interviews. This thesis argues that Shanghai developed a ‘state-led/-participation mode of production’. -
Zhang Dai's Biographical Portraits
Mortal Ancestors, Immortal Images: Zhang Dai’s Biographical Portraits Duncan M. Campbell, Australian National University Nobody looking at paintings and who sees a picture of the Three Sovereigns and the Five Emperors fails to be moved to respect and veneration, or, on the other hand, to sadness and regret when seeing pictures of the last rulers of the Three Dynasties. Looking at traitorous ministers or rebel leaders sets one’s teeth grinding whereas, on sight of men of integrity or of great wisdom, one forgets to eat, on sight of loyal ministers dying for their cause one is moved to defend one’s own integrity … From this consideration does one understand that it is illustrations and paintings that serve to hold up a mirror to our past in order to provide warnings for our future course of action. (觀畫者見三皇五帝莫不仰戴見三季異主莫不悲惋見篡臣賊嗣莫不切齒見高節 妙士莫不忘食見忠臣死難莫不抗節…是知存乎鑒戒者圖畫也) Cao Zhi 曹植 (192–232), quoted in Zhang Yanyuan 張彥遠 (9th Century), Lidai minghua ji 歷代名畫記 [A Record of Famous Paintings Down Through the Ages] In keeping with the name it took for itself (ming 明, brilliant, luminous, illustrious), the Ming dynasty (1368–1644) was a moment of extraordinary development in the visual cultures of the traditional Chinese world (Clunas 1997; 2007).1 On the one hand, this period of Chinese history saw internal developments in various aspects of preexisting visual culture; on the other, through developments in xylography and commercial publishing in particular, but also through the commoditization of the objects of culture generally, the period also saw a rapid increase in the dissemination and circulation of 1 Clunas writes: ‘The visual is central in Ming life; this is true whether it is the moral lecturer Feng Congwu (1556–?1627) using in his impassioned discourses a chart showing a fork in the road, one path leading to good and one path to evil, or in the importance in elite life of dreams as “visions,” one might say as “visual culture,” since they made visible, to the dreamer at least, cultural assumptions about fame and success’ (2007: 13). -
Ming-Qing Women's Song Lyrics to the Tune Man Jiang Hong
engendering heroism: ming-qing women’s song 1 ENGENDERING HEROISM: MING-QING WOMEN’S SONG LYRICS TO THE TUNE MAN JIANG HONG* by LI XIAORONG (McGill University) Abstract The heroic lyric had long been a masculine symbolic space linked with the male so- cial world of career and achievement. However, the participation of a critical mass of Ming-Qing women lyricists, whose gendered consciousness played a role in their tex- tual production, complicated the issue. This paper examines how women crossed gen- der boundaries to appropriate masculine poetics, particularly within the dimension of the heroic lyric to the tune Man jiang hong, to voice their reflections on larger historical circumstances as well as women’s gender roles in their society. The song lyric (ci 詞), along with shi 詩 poetry, was one of the dominant genres in which late imperial Chinese women writers were active.1 The two conceptual categories in the aesthetics and poetics of the song lyric—“masculine” (haofang 豪放) and “feminine” (wanyue 婉約)—may have primarily referred to the textual performance of male authors in the tradition. However, the participation of a critical mass of Ming- Qing women lyricists, whose gendered consciousness played a role in * This paper was originally presented in the Annual Meeting of the Association for Asian Studies, New York, March 27-30, 2003. I am deeply grateful to my supervisor Grace S. Fong for her guidance and encouragement in the course of writing this pa- per. I would like to also express my sincere thanks to Professors Robin Yates, Robert Hegel, Daniel Bryant, Beata Grant, and Harriet Zurndorfer and to two anonymous readers for their valuable comments and suggestions that led me to think further on some critical issues in this paper. -
Introduction
Introduction uring the fall of the Ming dynasty (1368–1644), Huang Xiangjian (1609–73) Djourneyed on foot from his native Suzhou to far-distant Yunnan Province to rescue his father, who had been posted there as an official of the collapsing dynasty. Leaving home in early 1652 and returning in mid–1653, Huang trav- eled for 558 days over 2,800 miles, braving hostile armies, violent bandits, fierce minority tribes, man-eating tigers, disease-laden regions, earthquakes, and the freezing rain and snow of the “Little Ice Age” to find his parents amidst the vast mountainous borderland province. Despite nearly impossible odds, he brought them back home. Huang then began to paint pictures of his odyssey through the sublime landscape of the dangerous, “barbarian” southwest in an extraor- dinarily dramatic style, and he wrote vivid accounts of his travels that were published as The Travel Records of Filial Son Huang (Huang Xiaozi jicheng).1 Huang Xiangjian created pictorial and literary works with distinct functions for the multilayered social networks that surrounded him. Personally, his most pressing concern was to establish a socially valuable reputation regarding filial piety and loyalty for himself and for his father in the wake of their return home to disorder. The initial step in this process was the writing ofThe Travel Records of Filial Son Huang, here translated for the first time in their entirety. The next step was to create paintings that captured the Huang family odyssey. This book is the first comprehensive examination of Huang Xiangjian’s landscape paintings of the southwest edge of the Chinese empire. -
Thomé H. Fang, Tang Junyi and the Appropriation of Huayan Thought
Thomé H. Fang, Tang Junyi and the Appropriation of Huayan Thought A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 King Pong Chiu School of Arts, Languages and Cultures TABLE OF CONTENTS Table of Contents 2 List of Figures and Tables 4 List of Abbreviations 5 Abstract 7 Declaration and Copyright Statement 8 A Note on Transliteration 9 Acknowledgements 10 Chapter 1 - Research Questions, Methodology and Literature Review 11 1.1 Research Questions 11 1.2 Methodology 15 1.3 Literature Review 23 1.3.1 Historical Context 23 1.3.2 Thomé H. Fang and Huayan Thought 29 1.3.3 Tang Junyi and Huayan Thought 31 Chapter 2 – The Historical Context of Modern Confucian Thinkers’ Appropriations of Buddhist Ideas 33 2.1 ‘Ti ’ and ‘Yong ’ as a Theoretical Framework 33 2.2 Western Challenge and Chinese Response - An Overview 35 2.2.1 Declining Status of Confucianism since the Mid-Nineteenth Century 38 2.2.2 ‘Scientism’ as a Western Challenge in Early Twentieth Century China 44 2.2.3 Searching New Sources for Cultural Transformation as Chinese Response 49 2.3 Confucian Thinkers’ Appropriations of Buddhist Thought - An Overview 53 2.4 Classical Huayan Thought and its Modern Development 62 2.4.1 Brief History of the Huayan School in the Tang Dynasty 62 2.4.2 Foundation of Huayan Thought 65 2.4.3 Key Concepts of Huayan Thought 70 2.4.4 Modern Development of the Huayan School 82 2.5 Fang and Tang as Models of ‘Chinese Hermeneutics’- Preliminary Discussion 83 Chapter 3 - Thomé H. -
Julian WARD, Xu Xiake (1587-1641): the Art of Travel Writing , Richmond, Surrey, U.K.: Curzon Press, 2001
REVIEWS Julian WARD, Xu Xiake (1587-1641): The Art of Travel Writing , Richmond, Surrey, U.K.: Curzon Press, 2001. 231, xviii pp. ISBN 0-7007-1319-0. On October 17, 1636, Xu Xiake, then almost fty years old, left his family in Jiangyin (in present-day Jiangsu province) and embarked on what would be his last and, by far, most challenging expedition. Accompanied by a Buddhist monk and two servants (one of whom would abandon the party just a fortnight into the journey), Xu would eventually spend nearly four years on the road, traveling through the provinces of Zhejiang, Jiangxi, Huguang, Guangxi, Guizhou, and Yunnan as well as seeking out and exploring sites both famous and out of the ordinary. Life on the road was as invigorating as it was hazardous. During the journey, as Ward notes, ÒXu was robbed three times, ran out of money and was nally deserted by his remaining servantÓ (p. 43). Xu Xiake was of course not the rst Ming-dynasty literatus to have traveled extensively in southwest China; quite a few had gone before him, though, unlike Xu, almost all had done so in the capacity either as o cials or as political exiles. What sets Xu apart from his con- temporaries is not just his desire for travel; during his long and arduous journey, Xu man- aged to keep a detailed record of most of the notable places he had visited (judging from the editions still extant, Xu must have written, on average, 500 characters per day for nearly 1,100 consecutive days). -
Daoist Symbols of Immortality and Longevity : on Late Ming Dynasty Porcelain
Daoist symbols of immortality and longevity : on late Ming Dynasty porcelain Autor(en): Vries, Patrick de Objekttyp: Article Zeitschrift: Asiatische Studien : Zeitschrift der Schweizerischen Asiengesellschaft = Études asiatiques : revue de la Société Suisse-Asie Band (Jahr): 62 (2008) Heft 1 PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-147774 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch DAOIST SYMBOLS OF IMMORTALITY AND LONGEVITY ON LATE MING DYNASTY PORCELAIN Patrick de Vries, Zurich Abstract This paper explores aspects of Daoist symbolism as found on the ceramics produced during the Jiajing (˜iå reign 1522– 1566) of the late Ming dynasty. -
The Old Master
INTRODUCTION Four main characteristics distinguish this book from other translations of Laozi. First, the base of my translation is the oldest existing edition of Laozi. It was excavated in 1973 from a tomb located in Mawangdui, the city of Changsha, Hunan Province of China, and is usually referred to as Text A of the Mawangdui Laozi because it is the older of the two texts of Laozi unearthed from it.1 Two facts prove that the text was written before 202 bce, when the first emperor of the Han dynasty began to rule over the entire China: it does not follow the naming taboo of the Han dynasty;2 its handwriting style is close to the seal script that was prevalent in the Qin dynasty (221–206 bce). Second, I have incorporated the recent archaeological discovery of Laozi-related documents, disentombed in 1993 in Jishan District’s tomb complex in the village of Guodian, near the city of Jingmen, Hubei Province of China. These documents include three bundles of bamboo slips written in the Chu script and contain passages related to the extant Laozi.3 Third, I have made extensive use of old commentaries on Laozi to provide the most comprehensive interpretations possible of each passage. Finally, I have examined myriad Chinese classic texts that are closely associated with the formation of Laozi, such as Zhuangzi, Lüshi Chunqiu (Spring and Autumn Annals of Mr. Lü), Han Feizi, and Huainanzi, to understand the intellectual and historical context of Laozi’s ideas. In addition to these characteristics, this book introduces several new interpretations of Laozi. -
Ming China As a Gunpowder Empire: Military Technology, Politics, and Fiscal Administration, 1350-1620 Weicong Duan Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Winter 12-15-2018 Ming China As A Gunpowder Empire: Military Technology, Politics, And Fiscal Administration, 1350-1620 Weicong Duan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Asian History Commons, and the Asian Studies Commons Recommended Citation Duan, Weicong, "Ming China As A Gunpowder Empire: Military Technology, Politics, And Fiscal Administration, 1350-1620" (2018). Arts & Sciences Electronic Theses and Dissertations. 1719. https://openscholarship.wustl.edu/art_sci_etds/1719 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS DEPARTMENT OF HISTORY Dissertation Examination Committee: Steven B. Miles, Chair Christine Johnson Peter Kastor Zhao Ma Hayrettin Yücesoy Ming China as a Gunpowder Empire: Military Technology, Politics, and Fiscal Administration, 1350-1620 by Weicong Duan A dissertation presented to The Graduate School of of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2018 St. Louis, Missouri © 2018, -
Autobiography and Symbolic Capital in Late Imperial China
This is a repository copy of Autobiography and Symbolic Capital in Late Imperial China. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/139501/ Version: Accepted Version Article: Pattinson, D orcid.org/0000-0003-4166-7568 (2018) Autobiography and Symbolic Capital in Late Imperial China. Ming Qing Yanjiu, 22 (1). pp. 45-69. ISSN 1724-8574 https://doi.org/10.1163/24684791-12340020 © 2018 by Koninklijke Brill NV, Leiden, The Netherlands. This is an author produced version of a paper published in Ming Qing Yanjiu. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Autobiography and Symbolic Capital in Late Imperial China The Chronological Autobiography of Peng Shiwang David Pattinson University of Leeds In the winter of 1665-1666, the scholar Peng Shiwang 彭士望 (1610-1683), a native of Nanchang 南昌 in Jiangxi but since 1645 based in Ningdu 寧都 in the southeast of that province, wrote a chronological autobiography which would be unremarkable but for one feature: the trouble he took to record the names of many of the people he met during his peripatetic life, many of whom were Ming loyalist figures.1 Autobiographies naturally refer to people the writer knew, but Peng’s is unique because the names make up approximately half the text, mostly as intralinear annotations in half-size characters.