DOCSLIB.ORG

Manuscripta Orientalia, 23/1 (2017), Pp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Manuscripta Orientalia, 23/1 (2017), Pp “MANUSCRIPTA” DIARY E. Teryukova State Museum of the History of Religion, St. Petersburg, Russia; St. Petersburg State University, St. Petersburg, Russia E-mail: [email protected] P. Tugarinov State Museum of the History of Religion, St. Petersburg, Russia E-mail: [email protected] E. Zavidovskaya National Tsing Hua University, Hsinchu, Taiwan E-mail: [email protected] ON THE RESULTS OF THE INTERNATIONAL CONFERENCE “FOLK IMAGES AND LATE IMPERIAL CHINA” (ST. PETERSBURG, 29—30 JUNE 2017) Abstract. The article deals with the conference “Folk Images and Late Imperial China” which was organized by the State Mu- seum of the History of Religion and the Institute of Oriental Manuscripts of the Russian Academy of Sciences and by the Mazu Culture Research Centre, National Chung Cheng University (Chiayi, Taiwan) in St. Petersburg on June 29—30, 2017. The confer- ence engaged the leading researchers of Chinese folk art and religion from Taiwan and St. Petersburg and included 26 papers on Chinese folk images in Russian and international museum collections, the symbolism of Chinese folk images and semiological structure of myth, the evolution of Chinese folk images in the 20th century, the art of nianhua in contemporary China and Taiwan, the interaction of high and folk culture in Chinese art, Chinese religious syncretism and its portrayal in art. Key words: Chinese folk art, Chinese folk religion, Chinese folk images in Russia, museum collections, symbolism of Chi- nese folk images Acknowledgment. The publication was prepared under the grant from the Russian Foundation for Basic Research, Project No. 15-21-10001. The State Museum of the History of Religion and the St. Petersburg counts almost 300 years and dates back to Institute of Oriental Manuscripts of the Russian Acad- Peter the Great's decree to establish the Academy of Sci- emy of Sciences hosted the international conference ences. St. Petersburg has been enjoying the status of “Folk Images and Late Imperial China” on June 29—30, a leading centre for the research of the Chinese culture 2017, which became the first event of this kind within for three hundred years. The Asian Museum was founded the framework of Russian-Taiwanese collaboration in in 1818, later it was reorganized to become the Institute arts and humanities in the past several decades. The con- of Oriental Manuscripts of the Russian Academy of Sci- ference was organized by the State Museum of the His- ences. Its collection of manuscripts is the largest in Rus- tory of Religion, the Institute of Oriental Manuscripts of sia and one of the largest and most valuable in the world. the Russian Academy of Sciences (Russia) and the Mazu The faculty of Oriental Languages was founded in Culture Research Centre of the National Chung Cheng St. Petersburg University in 1854. The faculty grew to University (Chiayi, Taiwan). The conference was sup- become a recognized centre for the study of Oriental ported by the Cultural Division of the Representative languages, history, and culture. Another decree by Peter Office in Moscow for the Moscow-Taipei Coordination the Great issued in 1714 led to the foundation of Russia's Commission on Economic and Cultural Cooperation. first public museum, the Kunstkamera, where The city where the conference took place is of spe- St. Petersburg's first Chinese collections were housed. cial significance. The history of Chinese studies in Later large collections of Chinese artefacts were gath- © E. Teryukova, P. Tugarinov, E. Zavidovskaya, 2017. Manuscripta Orientalia, 23/1 (2017), pp. 67—70 68 Manuscripta Orientalia. VOL. 23 NO. 2 DECEMBER 2017 ered at the State Hermitage Museum and the State Mu- the History of Religion held an exhibition titled “Around seum of the History of Religion. Old China with Academician Alekseev”, published an Academician Vassily Mikhailovich Alekseev is album on Chinese prints from the collection of the State a central figure in the history of Chinese studies in Museum of the History of Religion [2], and developed St. Petersburg, he was both a collector and researcher of a multimedia program “Around Old China with Acade- Chinese folk art. During his travels to China in 1906— mician Alekseev” available on the museum's website and 1909, 1912 and 1926 V. M. Alekseev collected several as a part of the permanent display [3]. In 2015, a Rus- thousands of folk images, prints, temple epigraphy, as sian-Taiwanese research group was granted funding for well as secular and religious artefacts. Later his collec- further study of Alekseev's collection, combined work tion was divided between St. Petersburg's (Leningrad's at resulted in publication of a number of articles in Russian, the time) leading museums and research centres. Ap- Chinese and English by Russian and Taiwanese members proximately 1000 sheets from this collection are now of the research group. The work undertaken by Professor held at the State Museum of the History of Religion. Yang Yujin (National Chung Cheng University) at Unlike blockprinted folk images from St. Petersburg's museums, including the Museum of the V. M. Alekseev's collection that found their way to the History of Religion, resulted in a series of articles on the State Hermitage Museum, collection at the State Mu- images of Zhong Kui and Wealth God Caishen [4]. In seum of the History of Religion has been accessible to 2016 she published a catalogue of the touring exhibition researchers, but had not become the subject of dedicated of Chinese folk images from the collection of the State study. Until recently, the only publications on the Mu- Museum of the History of Religion, “Russian Collection (”㖵ᯟި㯿ᲊ␵ᵘᶯᒤ⮛״“) ”seum's collection of Chinese folk images were two of Late Qing Nianhua works by I. P. Garanin titled “Nineteenth-Century Chi- in Taiwan [5]. Russian members of the research group nese Anti-Christian Prints” and “Chinese auspicious have published more than ten articles in Russian and Prints from the Collection of V. M. Alekseev” [1]. English on the formation of Alekseev's collection at the Well-known Russian researchers of Chinese folk images State Museum of the History of Religion and its various B. L. Riftin and M. L. Rudova mentioned the collection aspects, such as artefacts and V. M. Alekseev's notes for of the State Museum of the History of Religion, but un- those prints, the collection has been introduced as a new fortunately never made it the focus of their attention. To relevant source for the study of Chinese religious syncre- draw the attention to the collection, the State Museum of tism [6]. *** The conference “Folk Images and Late Imperial P. A. Komarovskaya (St. Petersburg State University) China” held in St. Petersburg not only aimed to present presented the results of field research conducted in 2010 the results of this joint project, but also to engage the in Yangjiabu near the town of Weifang, one of the Chi- leading researchers of Chinese folk art and religion from nese nianhua manufacturing centres. She pointed out Taiwan and Russia. The conference included 26 papers that present day traditions of this centre are rooted in the on Chinese folk images held in Russian and international heritage of the Qing period. The traditional method of museum collections, on symbolism of Chinese folk im- printing from woodblocks is used to produce New Year ages and semiological structure of myth, evolution of images, while most of the plots typical for early twenti- Chinese folk images in the 20th century, the art of eth century remain unchanged and some of the new god nianhua in contemporary China and Taiwan, interaction images are added. Some of the contemporary Yagjiabu of high and folk culture in Chinese art, Chinese religious prints are the same as nianhua from the collection of the syncretism and its representation in art. State Museum of the History of Religion, which were At the opening session, I. F. Popova (Institute of printed over a hundred years ago and procured by Aca- Oriental Manuscripts RAS), E. A. Teryukova (State Mu- demician V. M. Alekseev during his trip of northern seum of the History of Religion), P. V. Rud' (Kunstkam- China in 1907. R. V. Berezkin (Fudan University) gave era), T. I. Vinogradova (RAS Library), and I. Bez- a talk titled “Zhima and Baojuan Performances in South- ruchenko spoke about museum and private collections of ern Jiangsu in the Modern Period” based on field re- Chinese folk visual arts in Russia, Lithuania, Portugal search conducted in Wuxi, Changshu, Zhangjiagang, and gave an overview of collections from the State Mu- Suzhou and Jingjiang, and was a contribution of undis- seum of the History of Religion, Institute of Oriental puted academic novelty. He demonstrated that today Manuscripts, and Kunstkamera. Lin Ching-chih from the such types of Chinese folk images as zhima (translated National Chengchi University described the use of inno- as “paper horses”), which originally had a ritual purpose, vative digital research methodology in the study of Chi- are becoming a part of sung narrative performances bao- nese folk images and the development of a unified data- juan (“precious scrolls”), which are still popular in some base covering nianhua manufacture and sales centres in regions of Southern Jiangsu. P. A. Tugarinov (State Mu- China, which makes it possible to identify specific re- seum of the History of Religion) focused his talk on the gional functional and stylistic features. phenomenon of contemporary Taiwanese New Year A special session was devoted to folk visual arts in prints and the fact that their imagery is incorporating the 20th century and their contemporary status in China new non-traditional plots and artistic formats. According and Taiwan. In her talk titled “Nianhua Workshop Centre to P. A. Tugarinov, contemporary Taiwanese New Year in Yangjiabu (Shangdong): Traditions and Modernity”, images are an untapped and incredibly informative re- “MANUSCRIPTA” DIARY 69 source for the study of identity formation and awareness ince, they have been classified as intangible cultural heri- among the residents of Taiwan.
Load more

Recommended publications
  • Eight Transitional Treasures Eight Transitional Treasures 30Th Anniversary Exhibition
    Eight Transitional Treasures Eight Transitional Treasures 30th Anniversary Exhibition BERWALD ORIENTAL ART LONDON 2 Introduction [Chinese] Chronology of This exhibition encompasses a ffty-year period that saw the 本展涵蓋明末清初半世紀，見證明代衰亡，滿清立國。自 emperors decline and eventual fall of the Ming dynasty and ended with the 約1620年起至1670年代中期間，中華製瓷工藝之風格及題 Ming dynasty establishment of the new Manchurian Qing dynasty. Lasting roughly Jiajing from 1620 to the mid 1670s, this period marks a remarkable change 材經歷嬗變，非比尋常。雖時局動盪，然官窰並無衰落之 1521 – 1567 in the style and subject matter of Chinese porcelain manufacture. Far Wanli 象，反而推陳翻新，臻藝菁華。明朝宮廷燒製大批瓷器， from suffering a decline during this turbulent time, the imperial kilns 1572 – 1620 壟斷生產，至明末衰落，無力繼承奢風，瓷器工藝改為富 Tianqi experienced a period of astounding creativity and artistic brilliance. 1621 – 1627 The Ming court, whose massive orders had until now totally domi- 商巨賈而製。後者鍾情山水景物，熱衷瓷器鑑賞，成就製 Chongzhen nated porcelain production, could no longer sustain their customary 1628 – 1644 瓷技術創新突破，於中華史上獨一無二。 extravagance and a new clientele of wealthy merchants took their Qing dynasty place. It was the tastes and aspirations of this new clientele, particu- 自宋（西元960 - 1279年）前起，製瓷均乃中國之重要工 Shunzhi larly their love of landscapes, which prompted this period of breath- 1644 – 1661 業，至晚明為極盛。宮廷需求熱切，御窰廠供不應求，故 Kangxi taking innovation in porcelain making, which remains unique in 1662 – 1722 Chinese history. 寄燒於規模較小之民窰，有謂「官搭民燒」。江西景德鎮 Porcelain had been a major industry in China since before the 御窰製作規模龐大，架構精密，除瓷匠與畫師外，司爐、 Song dynasty (960 - 1279) and in the late Ming production was at its 木匠、木材商人、礦工、陶土加工師等從業者眾，或直接 height. Court orders were so numerous that the imperial kilns had to farm out orders to smaller private kilns, a practice that became 受聘，或從中得利，經營、運輸等人數極多，更不在話下。 known as ‘ordered by the government, fred by the people’.
    [Show full text]
  • Cultural Significance and Artistic Value of Chinese Folk New Year Pictures in Traditional Festivals
    2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) Cultural Significance and Artistic Value of Chinese Folk New Year Pictures in Traditional Festivals Zhiqiang Chena,*, Yongding Tanb Lingnan Normal University, Zhanjiang, 750021, China [email protected], [email protected] *Corresponding Author Keywords: New Year Pictures, Cultural Significance, Artistic Value Abstract: the History of Chinese Folk New Year Pictures Can Be Traced Back to the Han Dynasty. It Occupies an Important Position in People's Spiritual and Cultural Life and is a Valuable Cultural Heritage of the Chinese Nation. in the Long Process of Development, Chinese Traditional Folk New Year Paintings Have Formed a Unique Painting Style. Its Composition, Shape, Colour and Other Factors Have Strong Subjective Imagery, Reflecting People's Cognitive Concepts. New Year Pictures Express the Basic Spirit of Chinese Traditional Culture with the Cultural Form Closest to People and Life, Providing a Unique Spiritual Temperament for the Survival and Continuation of the Nation and Culture. It is a Popular Reading Material and Educational Reading Material for the People and Plays a Role in Popularizing Historical Knowledge and Moral Education. New Year Pictures Have Beautiful Shapes and Colours, Which Promote the Formation of People's Aesthetics, Spread Aesthetic Ideas and Form Their Own Unique Views on Shapes and Colours. 1. Introduction The Chinese culture and art have a long history, stretching from ancient times to modern times. The vast expanse of water is unbridled and brilliant, shining in the sky of world civilization. Chinese folk wood engraving New Year pictures have a long history and cover a wide range of areas in our country.
    [Show full text]
  • The Daoist Tradition Also Available from Bloomsbury
    The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1.
    [Show full text]
  • Lucky Motifs in Chinese Folk Art: Interpreting Paper-Cut from Chinese Shaanxi
    Asian Studies I (XVII), 2 (2013), pp. 123–141 Lucky Motifs in Chinese Folk Art: Interpreting Paper-cut from Chinese Shaanxi Xuxiao WANG Abstract Paper-cut is not simply a form of traditional Chinese folk art. Lucky motifs developed in paper-cut certainly acquired profound cultural connotations. As paper-cut is a time- honoured skill across the nation, interpreting those motifs requires cultural receptiveness and anthropological sensitivity. The author of this article analyzes examples of paper-cut from Northern Shaanxi, China, to identify the cohesive motifs and explore the auspiciousness of the specific concepts of Fu, Lu, Shou, Xi. The paper-cut of Northern Shaanxi is an ideal representative of the craft as a whole because of the relative stability of this region in history, in terms of both art and culture. Furthermore, its straightforward style provides a clear demonstration of motifs regarding folk understanding of expectations for life. Keywords: Paper-cut, Shaanxi, lucky motifs, cultural heritage Izvleček Izrezljanka iz papirja ni le ena izmed oblik tradicionalne kitajske ljudske umetnosti, saj določeni motivi sreče, ki so se razvili znotraj te umetnosti, zahtevajo poglobljeno razumevanje kulturnih konotacij. Ker je izrezljanka iz papirja častitljiva in stara veščina, ki se izdeluje po vsej državi, je za interpretacijo teh motivov potrebna kulturna receptivnost in antropološka senzitivnost. Avtorica pričujočega članka analizira primere izrezljank iz papirja iz severnega dela province Shaanxi na Kitajskem, da bi identificirala povezane motive ter raziskala dojemanje sreče in ugodnosti specifičnih konceptov, kot so Fu, Lu, Shou, Xi. Zaradi relativne stabilnosti severnega dela province Shaanxi v zgodovini, tako na področju umetnosti kot kulture, so izrezljanke iz papirja iz tega območja vzoren predstavnik rokodelstva kot celote.
    [Show full text]
  • 340336 1 En Bookbackmatter 251..302
    A List of Historical Texts 《安禄山事迹》 《楚辭 Á 招魂》 《楚辭注》 《打馬》 《打馬格》 《打馬錄》 《打馬圖經》 《打馬圖示》 《打馬圖序》 《大錢圖錄》 《道教援神契》 《冬月洛城北謁玄元皇帝廟》 《風俗通義 Á 正失》 《佛说七千佛神符經》 《宮詞》 《古博經》 《古今圖書集成》 《古泉匯》 《古事記》 《韓非子 Á 外儲說左上》 《韓非子》 《漢書 Á 武帝記》 《漢書 Á 遊俠傳》 《和漢古今泉貨鑒》 《後漢書 Á 許升婁傳》 《黃帝金匱》 《黃神越章》 《江南曲》 《金鑾密记》 《經國集》 《舊唐書 Á 玄宗本紀》 《舊唐書 Á 職官志 Á 三平准令條》 《開元別記》 © Springer Science+Business Media Singapore 2016 251 A.C. Fang and F. Thierry (eds.), The Language and Iconography of Chinese Charms, DOI 10.1007/978-981-10-1793-3 252 A List of Historical Texts 《開元天寶遺事 Á 卷二 Á 戲擲金錢》 《開元天寶遺事 Á 卷三》 《雷霆咒》 《類編長安志》 《歷代錢譜》 《歷代泉譜》 《歷代神仙通鑑》 《聊斋志異》 《遼史 Á 兵衛志》 《六甲祕祝》 《六甲通靈符》 《六甲陰陽符》 《論語 Á 陽貨》 《曲江對雨》 《全唐詩 Á 卷八七五 Á 司馬承禎含象鑒文》 《泉志 Á 卷十五 Á 厭勝品》 《勸學詩》 《群書類叢》 《日本書紀》 《三教論衡》 《尚書》 《尚書考靈曜》 《神清咒》 《詩經》 《十二真君傳》 《史記 Á 宋微子世家 Á 第八》 《史記 Á 吳王濞列傳》 《事物绀珠》 《漱玉集》 《說苑 Á 正諫篇》 《司馬承禎含象鑒文》 《私教類聚》 《宋史 Á 卷一百五十一 Á 志第一百四 Á 輿服三 Á 天子之服 皇太子附 后妃之 服 命婦附》 《宋史 Á 卷一百五十二 Á 志第一百五 Á 輿服四 Á 諸臣服上》 《搜神記》 《太平洞極經》 《太平廣記》 《太平御覽》 《太上感應篇》 《太上咒》 《唐會要 Á 卷八十三 Á 嫁娶 Á 建中元年十一月十六日條》 《唐兩京城坊考 Á 卷三》 《唐六典 Á 卷二十 Á 左藏令務》 《天曹地府祭》 A List of Historical Texts 253 《天罡咒》 《通志》 《圖畫見聞志》 《退宮人》 《萬葉集》 《倭名类聚抄》 《五代會要 Á 卷二十九》 《五行大義》 《西京雜記 Á 卷下 Á 陸博術》 《仙人篇》 《新唐書 Á 食貨志》 《新撰陰陽書》 《續錢譜》 《續日本記》 《續資治通鑑》 《延喜式》 《顏氏家訓 Á 雜藝》 《鹽鐵論 Á 授時》 《易經 Á 泰》 《弈旨》 《玉芝堂談薈》 《元史 Á 卷七十八 Á 志第二十八 Á 輿服一 儀衛附》 《雲笈七籖 Á 卷七 Á 符圖部》 《雲笈七籖 Á 卷七 Á 三洞經教部》 《韻府帬玉》 《戰國策 Á 齊策》 《直齋書錄解題》 《周易》 《莊子 Á 天地》 《資治通鑒 Á 卷二百一十六 Á 唐紀三十二 Á 玄宗八載》 《資治通鑒 Á 卷二一六 Á 唐天寶十載》 A Chronology of Chinese Dynasties and Periods ca.
    [Show full text]
  • Daily Life for the Common People of China, 1850 to 1950
    Daily Life for the Common People of China, 1850 to 1950 Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access China Studies published for the institute for chinese studies, university of oxford Edited by Micah Muscolino (University of Oxford) volume 39 The titles published in this series are listed at brill.com/chs Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Daily Life for the Common People of China, 1850 to 1950 Understanding Chaoben Culture By Ronald Suleski leiden | boston Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access This is an open access title distributed under the terms of the prevailing cc-by-nc License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org. Cover Image: Chaoben Covers. Photo by author. Library of Congress Cataloging-in-Publication Data Names: Suleski, Ronald Stanley, author. Title: Daily life for the common people of China, 1850 to 1950 : understanding Chaoben culture / By Ronald Suleski.
    [Show full text]
  • The Status and Thinking of Chinese Farmer Painting Research
    International Journal of Frontiers in Sociology ISSN 2706-6827 Vol. 2, Issue 4: 52-58, DOI: 10.25236/IJFS.2020.020407 The Status and Thinking of Chinese Farmer Painting Research Weiping He Associate Professor of Changzhou Textile and Garment Vocational and Technical College [email protected] ABSTRACT. Chinese peasant paintings are the common product of folklore and painting in a special political environment. The study of peasant paintings has artistic, social and political significance, so it is extremely important. Existing farmer painting research has been restricted and misled in many ways, causing related research to lag behind and unable to establish the true historical and cultural value of farmer painting. Based on the analysis and analysis of the existing farmer painting research results, this article attempts to actively and effectively think and suggest this issue. KEYWORDS: Image farmer, painting modernization, political Since 1958, guided by the way of governance, rural murals in Pi County, Jiangsu Province, Shulu, Hebei Province, and other places have successively appeared in the phenomenon of the "Great Leap Forward" in rural murals, exaggerating agricultural harvests visually, responding to political slogans, and realizing socialist self-reform. The emergence of this method is a controversial event in social development and historical process, and even in the study of art history, it is also a trivial phenomenon. However, the massive painting activity with the creative subject as the farmer is extremely rare in the history of the world. Its uniqueness fully confirms certain problems in the modernization process of New China, involving politics and art, ideals and reality. , Culture, and the general public, facing this phenomenon, and its extension in sociology and fine arts, has a certain positive significance for the communication of fine arts history, sociology, political science and other disciplines.
    [Show full text]
  • Origin Narratives: Reading and Reverence in Late-Ming China
    Origin Narratives: Reading and Reverence in Late-Ming China Noga Ganany Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Noga Ganany All rights reserved ABSTRACT Origin Narratives: Reading and Reverence in Late Ming China Noga Ganany In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”).
    [Show full text]
  • English Version
    Bat Cave: Treasures of the Day and Chamber 1 14 Hard wood case carved with bats and clouds 27 Vase with bats, gourd vines, and character 40 Hair ornament with bats in gilt silver and gems 53 Gourd-shaped wall vase with bats and Qing dynasty, 19th century “shou” in underglaze blue Qing dynasty, 19th - early 20th century characters “daji (luck)” in famille-rose enamels Creatures of the Night 1 Dish with bat-and-peach design Mark and period of Qianlong (1736 - 1795), Qianlong period (1736 - 1795), Qing dynasty Cheng Xun Tang Collection Mengdiexuan Collection in famille-rose enamels Qing dynasty Exhibit Checklist and Gallery Floor Plan Mark and period of Yongzheng (1723 - 1735), Huaihaitang Collection Huaihaitang Collection Qing dynasty 41 Copper snuff bottle with Daoist immortals in enamels falangcai 54 Gourd-shaped jade scent holder with bats Hong Kong Museum of Art Collection, 15 Pair of bowls with five bats in underglaze blue 28 Dragon-handled vase with a hundred “ ” Mark and period of Qianlong (1736 - 1795), shou and characters “ (luck)” in openwork Gallery Floor Plan Donated by B.Y. Lam Foundation Mark and period of Yongzheng (1723 - 1735), characters in gilt on lime green ground Qing dynasty daji Qing dynasty Mark and period of Qianlong (1736 - 1795), Qing dynasty (1644 - 1911) Qing dynasty Huaihaitang Collection 2 Dish with bat-and-peach design C. P. Lin Collection Hong Kong Museum of Art Collection in famille-rose enamels Mark and period of Yongzheng (1723 - 1735), Yi Tak Tang Collection 42 Pair dishes with bats, peaches, and seascape 16 Gourd-shaped bottle with bat-and-cloud Qing dynasty in doucai enamels design in doucai enamels 55 Jade pendants in blessings-and-longevity- th 29 Bat-handled vase with floral patterns and Mark and period of Yongzheng (1723 - 1735), Collection of the Art Museum, CUHK, Qing dynasty, 18 century before-your-eyes design characters “ ” in enamels Qing dynasty th Gift of B.
    [Show full text]
  • East Asian Gothic: a Definition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kingston University Research Repository ARTICLE DOI: 10.1057/s41599-017-0038-8 OPEN East Asian Gothic: a definition Colette Balmain1 ABSTRACT This paper offers a definition of East Asian Gothic cinema in which a shared cultural mythology, based upon cultural proximity and intra-regional homologies, provides a cinematic template of ghosts and ghouls together with a grotesque menagerie of shape- shifting animals, imagined as either deities or demons. East Asian Gothic is an umbrella term which encompasses the cinemas of PRC, Hong Kong, Taiwan, Japan and South Korea, 1234567890 acknowledging the difficult histories and conflicts between the nations, as well as film making practices and industries. This is in opposition to critical work which views East Asian gothic and horror films as extensions of Japanese horror, and therefore J-Horror as a meta-genre; for example David Kalat in J-Horror (2007) and Axelle Carolyn in It Lives Again! Horror Films in the New Millennium (2008), or focus almost solely on the relationship between contemporary Western and East Asian Horror cinema through an analysis of the remake. In order to demonstrate the transnational and regional flows that form East Asian gothic cinema, this paper focuses in on one of the oldest and most enduring gothic figures found in literature and mythology across East Asia, the nine-tailed fox: known as the huli jin in China, gumiho in Korea and kitsune in Japan. While much has been written about the vengeful ghost, little attention has been paid to that of the fox-spirit even though ‘she’ is ubiquitous in East Asian popular culture.
    [Show full text]
  • CHINA Senior Immersion Tour April 14-24, 2017 Tour from Beijing to Xian
    CHINA Senior Immersion Tour April 14-24, 2017 Tour from Beijing to Xian Immerse yourself in Chinese culture on this 11 day, 10 night trip to China. This special trip, custom designed by Milne Travel for the Montpelier Senior Activity Center, will provide you with interactive opportunities to understand and learn about Chinese medicine and senior life in China while exploring the nation’s rich history and modern transformation. 11 Days / 10 Nights $3,950* per person Trip highlights: Climb the Great Wall of China, visit the Forbidden City Price includes: International airfare, daily breakfast, 7 and Tianamen Square, and see the ancient Terracotta lunches, and 5 dinners, 4-star accommodations, pri- Warriors in Xian. vate tours and transfers with English speaking guides, Experience a full-day traditional Chinese medicine high speed rail, all gratuity and tips. workshop and tour. Learn about Chinese herbal A deposit of $350 per person is due by December 15 medicine, acupuncture, qigong, and more. to reserve a spot. Half payment due Jan. 13 & Full Learn tai chi from a tai chi master. payment due Feb. 14. A minimum of 10 people is required, so tell your friends, including non-MSAC Visit a local senior center, experience local senior members. Make checks payable to Milne Travel. activities, interact with local seniors, watch their *$3,950 per person double occupancy. $495 per performances, and learn Chinese folk dance. person single-room supplement. Rates subject to Visit a local family in a traditional residential area of change until group air is confirmed. Air tax subject to Beijing and learn how to make Chinese dumplings.
    [Show full text]
  • THE GREAT ERA of ART COLLECTING in CHINA Emperor Taizong and His Followers
    BBognaogna ŁakomskaŁakomska Academy of Fine Arts, Gdansk The State Ethnographic Museum in Warsaw Polish Institute of World Art Studies THE GREAT ERA OF ART COLLECTING IN CHINA Emperor Taizong and his followers n 618 AD when the Tang dynasty was founded, the Imperial Storehouse had merely three hundred scrolls, but all of them were regarded as treasures Ihanded down from the Sui dynasty.1) This small collection, however, only began to grow when on the throne sat Emperor Taizong 太宗 (626 – 649 AD) – one of the greatest art collectors of all times. An excellent scholar and calligra- pher, interested in art himself, Taizong almost fanatically began to buy art from private individuals.2) As a result, by the year 632 AD in the imperial collection there were already over 1,500 scrolls of calligraphy.3) The Imperial Storehouse was much more than simply a repository for art works. It was an exclusive institution uniting excellent intellectuals, artists and capable officials, who also were outstanding experts in art. Its core constituted a counsel of three authorities: Yu Shinan 虞世南 (558 – 638 AD) – once Emperor Taizong’s teacher of calligraphy; Wei Zheng 魏徵 (580 – 643 AD) – a brilliant officer and the emperor’s adviser; and Chu Suiliang 褚遂良 (597 – 658 AD) – 1) Acker (1979: 127). 2) In sponsored by the Emperor Huizong 徽宗 (1100 – 1126) the Xuanhe Huapu宣和画谱 (Catalogue of Paintings of the Xuanhe Emperor [Huizong]), there is a following description of Emperor Taizong as an artist as well as a patron of art: “…Taizong was good at fei bai飞白 (fl ying white) and gave some of his pieces in it to his top offi cials.
    [Show full text]