Pub Date : 2022-06-21DOI: 10.1163/24684791-12340062
Xiaolin Duan
During the seventeenth century crisis, China witnessed the decline and fall of the Ming dynasty. Scholars have long discussed the role of silver in the Ming crisis, but less attention has been paid to the effects of the production and circulation of silk. This paper examines both internal and external factors that contributed to the decline of Chinese sericulture and silk production, as well as consequent damages to the economy and social relations. Converging environmental and economic factors within major silk-producing regions, as well as a number of incidents that affected the Pacific trade of silk, exacerbated the problems of the late Ming. This paper applies the Law of Supplies and Demands to analyse interconnections between China, Manila, and New Spain. An understanding of the silk industry is essential to explain significant economic connections both within Ming China and between China and the outside world during the seventeenth century.
{"title":"Mulberry Trees, Shipwrecks, and Silver: Silk Raising and the Decline of the Ming Dynasty","authors":"Xiaolin Duan","doi":"10.1163/24684791-12340062","DOIUrl":"https://doi.org/10.1163/24684791-12340062","url":null,"abstract":"\u0000During the seventeenth century crisis, China witnessed the decline and fall of the Ming dynasty. Scholars have long discussed the role of silver in the Ming crisis, but less attention has been paid to the effects of the production and circulation of silk. This paper examines both internal and external factors that contributed to the decline of Chinese sericulture and silk production, as well as consequent damages to the economy and social relations. Converging environmental and economic factors within major silk-producing regions, as well as a number of incidents that affected the Pacific trade of silk, exacerbated the problems of the late Ming. This paper applies the Law of Supplies and Demands to analyse interconnections between China, Manila, and New Spain. An understanding of the silk industry is essential to explain significant economic connections both within Ming China and between China and the outside world during the seventeenth century.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48814294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-21DOI: 10.1163/24684791-12340061
Ilia S. Kolnin
Min shu 閩書 (The Book of Min; finished in 1620) written by He Qiaoyuan 何喬遠 (1558–1632), a native of Quanzhou, is a relatively well-known source among researchers studying the local history of Fujian province. However, apart from the information on the administrative division of the province, its customs and various aspects of local history it does also contain a section entirely dedicated to the description of the foreign island nations entitled Daoyi zhi 島夷志 (“A Description of Island Barbarians”). The present article analyzes the structure and the contents of this section, provides translations of several passages from it connected with the polities of Southeast Asia. Apart from that, a comparison of borrowings from the first edition of a Yuan dynasty treatise Daoyi zhilüe 島夷誌略 (A Brief Description of the Island Barbarians; 1349/1350) which was at the disposal of He Qiaoyuan and by which the name of the section was probably inspired has been carried out. Most importantly, drawing on the data from the text this paper shows how the outside maritime world to the east and south of China was perceived from the perspective of a South China resident who dealt with and gathered information about the foreign both as an official and as a common person. All in all, the present study is meant to build a basis for the future studies of Min shu and its contents in relation to the foreign countries and people as well as other understudied late Ming – early Qing geographical works.
{"title":"Southeast Asian “Island Barbarians” as Perceived by a Fujian Official He Qiaoyuan 何喬遠 (1558–1632) in the Late Ming Dynasty","authors":"Ilia S. Kolnin","doi":"10.1163/24684791-12340061","DOIUrl":"https://doi.org/10.1163/24684791-12340061","url":null,"abstract":"\u0000Min shu 閩書 (The Book of Min; finished in 1620) written by He Qiaoyuan 何喬遠 (1558–1632), a native of Quanzhou, is a relatively well-known source among researchers studying the local history of Fujian province. However, apart from the information on the administrative division of the province, its customs and various aspects of local history it does also contain a section entirely dedicated to the description of the foreign island nations entitled Daoyi zhi 島夷志 (“A Description of Island Barbarians”). The present article analyzes the structure and the contents of this section, provides translations of several passages from it connected with the polities of Southeast Asia. Apart from that, a comparison of borrowings from the first edition of a Yuan dynasty treatise Daoyi zhilüe 島夷誌略 (A Brief Description of the Island Barbarians; 1349/1350) which was at the disposal of He Qiaoyuan and by which the name of the section was probably inspired has been carried out. Most importantly, drawing on the data from the text this paper shows how the outside maritime world to the east and south of China was perceived from the perspective of a South China resident who dealt with and gathered information about the foreign both as an official and as a common person. All in all, the present study is meant to build a basis for the future studies of Min shu and its contents in relation to the foreign countries and people as well as other understudied late Ming – early Qing geographical works.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43748707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-21DOI: 10.1163/24684791-12340063
Kangni Huang
Xiaoshuo has long been considered supplementary to official historiography in the Chinese literary tradition. In this paper, I will rethink the supplementary nature of xiaoshuo as a conceptual issue. Specifically, I focus on the 17th-century novel Xiyou bu as a unique case in which the protagonist can be interpreted as a literary figuration of the creative agency of xiaoshuo. My close reading, in turn, takes into account that conventional discourses on xiaoshuo consider xiaoshuo a genre that is intended for supplementing, expanding, and explicating official historical sources.
{"title":"Supplementing History: Xiyou bu as a 17th-Century Meta-Xiaoshuo","authors":"Kangni Huang","doi":"10.1163/24684791-12340063","DOIUrl":"https://doi.org/10.1163/24684791-12340063","url":null,"abstract":"\u0000Xiaoshuo has long been considered supplementary to official historiography in the Chinese literary tradition. In this paper, I will rethink the supplementary nature of xiaoshuo as a conceptual issue. Specifically, I focus on the 17th-century novel Xiyou bu as a unique case in which the protagonist can be interpreted as a literary figuration of the creative agency of xiaoshuo. My close reading, in turn, takes into account that conventional discourses on xiaoshuo consider xiaoshuo a genre that is intended for supplementing, expanding, and explicating official historical sources.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44277205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-21DOI: 10.1163/24684791-12340057
A. Sepe
For most of Qing domination over China, the Manchu rulers strictly controlled or even prohibited migration of Chinese people to the dynasty’s Motherland (long xing zhi di 龍興之地). Only two brief phases are an exception, namely the mid Shunzhi to early Kangxi and Yongzheng periods. During the former, in 1653, a “Regulation for the repopulation and land reclamation of Liaodong” was promulgated, establishing alluring incentives for whoever managed to move a hundred or more people to the region east of the Liao river. Only fifteen years later, when the maneuver had just started to produce some results, the Qing court abolished it. In the long term, such a change of direction appears perfectly normal, considering that later on most of the lands would be assigned to the Eight Banners and the state would have striven to keep the Chinese out. Nevertheless, in the short term, the decision seemed to come out of the blue. An interesting debate on what might have determined the turnabout began in the early twentieth century, and some most recent contributions have been published in the 2000s; yet none of the thesis proposed so far is fully convincing. On the basis of sources that have not yet been taken into account, this paper further investigates into the matter and aims at demonstrating that the concerns which compelled the rulers to officially oppose immigration in the following decades already existed in the very first years of Kangxi reign.
{"title":"A Sudden Turnaround: The Pro-Han Immigration Policy in Manchuria and Its Abrupt Abrogation in Early Qing Era","authors":"A. Sepe","doi":"10.1163/24684791-12340057","DOIUrl":"https://doi.org/10.1163/24684791-12340057","url":null,"abstract":"\u0000For most of Qing domination over China, the Manchu rulers strictly controlled or even prohibited migration of Chinese people to the dynasty’s Motherland (long xing zhi di 龍興之地). Only two brief phases are an exception, namely the mid Shunzhi to early Kangxi and Yongzheng periods. During the former, in 1653, a “Regulation for the repopulation and land reclamation of Liaodong” was promulgated, establishing alluring incentives for whoever managed to move a hundred or more people to the region east of the Liao river. Only fifteen years later, when the maneuver had just started to produce some results, the Qing court abolished it. In the long term, such a change of direction appears perfectly normal, considering that later on most of the lands would be assigned to the Eight Banners and the state would have striven to keep the Chinese out. Nevertheless, in the short term, the decision seemed to come out of the blue. An interesting debate on what might have determined the turnabout began in the early twentieth century, and some most recent contributions have been published in the 2000s; yet none of the thesis proposed so far is fully convincing. On the basis of sources that have not yet been taken into account, this paper further investigates into the matter and aims at demonstrating that the concerns which compelled the rulers to officially oppose immigration in the following decades already existed in the very first years of Kangxi reign.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45374958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-21DOI: 10.1163/24684791-12340059
D. X. Yang
Zhangzhou ceramics, coarsely potted with thick glaze and sandy feet, were mass-produced in southern Fujian during the late Ming and early Qing periods. The rise of the Zhangzhou kiln complex was an outcome of expanding maritime trade since the Jiajing period (1522–1566) and Zhangzhou production reached a climax in the Wanli period (1572–1620). The Fujianese workshops created a whole spectrum of porcelain products, ranging from monochrome pieces to blue-and-white and polychrome ones. Of the decorative vocabulary that is unique to Zhangzhou kilns, the pavilion and seal design (previously known as the “Split Pagoda” motif) is noteworthy for its decorative originality and transnational appeal. Through a close examination of typical Zhangzhou dishes with seal design, the paper points out that the intriguing theme fuses Daoist ideals with Confucian-recluses’ pursuits. The pluralism in the symbolic meanings of the pattern enhances the marketability of this type of Zhangzhou ware. Around the 1650s, Japanese potters in the Yoshida workshops of Ureshino, Hizen province on the Island of Kyushu started to incorporate the Zhangzhou designs into their local decorative repertoire. But instead of faithfully imitating the seal pattern from the Fujianese prototype, Yoshida decorators seamlessly wove Japanese fashion into Chinese-inspired motifs. Popular designs from nearby Arita, the porcelain capital of Japan, further stimulated Yoshida artisans to create affordable fusion-style products for Southeast Asian markets that were yet to be dominated by prestigious Hizen porcelains. However, the efflorescence of Yoshida porcelains with seal design was rather short-lived due to limited native resources and fierce competition in and outside Kyushu.
{"title":"Phantom Porcelains: Zhangzhou and Yoshida Polychrome Dishes with Seal Design","authors":"D. X. Yang","doi":"10.1163/24684791-12340059","DOIUrl":"https://doi.org/10.1163/24684791-12340059","url":null,"abstract":"\u0000Zhangzhou ceramics, coarsely potted with thick glaze and sandy feet, were mass-produced in southern Fujian during the late Ming and early Qing periods. The rise of the Zhangzhou kiln complex was an outcome of expanding maritime trade since the Jiajing period (1522–1566) and Zhangzhou production reached a climax in the Wanli period (1572–1620). The Fujianese workshops created a whole spectrum of porcelain products, ranging from monochrome pieces to blue-and-white and polychrome ones. Of the decorative vocabulary that is unique to Zhangzhou kilns, the pavilion and seal design (previously known as the “Split Pagoda” motif) is noteworthy for its decorative originality and transnational appeal. Through a close examination of typical Zhangzhou dishes with seal design, the paper points out that the intriguing theme fuses Daoist ideals with Confucian-recluses’ pursuits. The pluralism in the symbolic meanings of the pattern enhances the marketability of this type of Zhangzhou ware. Around the 1650s, Japanese potters in the Yoshida workshops of Ureshino, Hizen province on the Island of Kyushu started to incorporate the Zhangzhou designs into their local decorative repertoire. But instead of faithfully imitating the seal pattern from the Fujianese prototype, Yoshida decorators seamlessly wove Japanese fashion into Chinese-inspired motifs. Popular designs from nearby Arita, the porcelain capital of Japan, further stimulated Yoshida artisans to create affordable fusion-style products for Southeast Asian markets that were yet to be dominated by prestigious Hizen porcelains. However, the efflorescence of Yoshida porcelains with seal design was rather short-lived due to limited native resources and fierce competition in and outside Kyushu.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42235072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-21DOI: 10.1163/24684791-12340058
Wenfei Wang
This paper aims to explore how the Jesuit missionaries and their Chinese supporters negotiated the tension between mechanical knowledge, along with its embedded theological implications and the Chinese worldview by examining the Yuanxi qiqi tushuo luzui 遠西奇器圖說錄最 and the biography of a Chinese inventor Huang Lüzhuang 黃履莊 in the context of the polemical debates on Christianity in seventeenth century China. Centring on the concept of creation, I demonstrate how the understanding of machine or automata relates to broader questions regarding the natural world and human agency at the juncture of intellectual transformations in both Europe and China: While some European thinkers, inspired by machines, promoted the worldview of a passive nature analogous to machine, concepts of unity and spontaneity provided the Chinese with an opportunity to account for the autonomy of the machine as something operating in accordance with the self-generating natural world.
{"title":"Between Machine and Man: The Question of Creation in the Transmission of Western Mechanical Knowledge in Seventeenth-Century China (A Case Study)","authors":"Wenfei Wang","doi":"10.1163/24684791-12340058","DOIUrl":"https://doi.org/10.1163/24684791-12340058","url":null,"abstract":"\u0000This paper aims to explore how the Jesuit missionaries and their Chinese supporters negotiated the tension between mechanical knowledge, along with its embedded theological implications and the Chinese worldview by examining the Yuanxi qiqi tushuo luzui 遠西奇器圖說錄最 and the biography of a Chinese inventor Huang Lüzhuang 黃履莊 in the context of the polemical debates on Christianity in seventeenth century China. Centring on the concept of creation, I demonstrate how the understanding of machine or automata relates to broader questions regarding the natural world and human agency at the juncture of intellectual transformations in both Europe and China: While some European thinkers, inspired by machines, promoted the worldview of a passive nature analogous to machine, concepts of unity and spontaneity provided the Chinese with an opportunity to account for the autonomy of the machine as something operating in accordance with the self-generating natural world.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49580807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.1163/24684791-12340048
Katharine P. Burnett
Pang Yuanji 龐元濟 (1864–1949) is well known for the important catalogues he compiled of his ancient painting collections, especially the Xuzhai minghua lu 虛齋名 畫錄. Less recognized is his patronage of numerous artists who lived and worked in his home. Less known still are the roles he played in the modernizing art world. Despite Pang’s passion for traditional—if not also conservative—painting styles, his role as the founder of updated hospitals and schools, as one of the first to incorporate new technologies in industry and business, and also his activities with reformers of politics and the arts, point to the agenda of a reformer and modernist. This essay revises our understanding of Pang, changing not only how we understand his contributions to China’s visual culture, but also how we understand him as one who helped bring China into the modern world.
{"title":"Pang Yuanji, Traditionalist/Modernist","authors":"Katharine P. Burnett","doi":"10.1163/24684791-12340048","DOIUrl":"https://doi.org/10.1163/24684791-12340048","url":null,"abstract":"\u0000Pang Yuanji 龐元濟 (1864–1949) is well known for the important catalogues he compiled of his ancient painting collections, especially the Xuzhai minghua lu 虛齋名 畫錄. Less recognized is his patronage of numerous artists who lived and worked in his home. Less known still are the roles he played in the modernizing art world. Despite Pang’s passion for traditional—if not also conservative—painting styles, his role as the founder of updated hospitals and schools, as one of the first to incorporate new technologies in industry and business, and also his activities with reformers of politics and the arts, point to the agenda of a reformer and modernist. This essay revises our understanding of Pang, changing not only how we understand his contributions to China’s visual culture, but also how we understand him as one who helped bring China into the modern world.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44153843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.1163/24684791-12340050
Weitian Yan
This article investigates three vignettes in the collecting of the Pei Cen Stele during the eighteenth century. A Han-dynasty monument in Barköl, Xinjiang, the Pei Cen Stele tells of an unrecorded military achievement against the Xiongnu in 137. I begin by discussing how court officials used this artefact to support the Qing imperial expansion into central Asia. The second episode identifies four major types of copies of the Pei Cen Stele—facsimiles, replicas, tracing copies, and forgeries—and examines their varied functions to the epigraphic community at the time. The final section analyses the transitional style of this inscription through calligraphers’ innovative transcriptions. Appropriations of the Pei Cen Stele in these political, social, and artistic contexts, I argue, pinpoint the idea of collecting as a form of invention in the Qing dynasty. Collectors invented the Pei Cen Stele as a symbol of prosperity, a cultural relic, and a calligraphy exemplar.
{"title":"Collecting the Pei Cen Stele in Qing China","authors":"Weitian Yan","doi":"10.1163/24684791-12340050","DOIUrl":"https://doi.org/10.1163/24684791-12340050","url":null,"abstract":"\u0000This article investigates three vignettes in the collecting of the Pei Cen Stele during the eighteenth century. A Han-dynasty monument in Barköl, Xinjiang, the Pei Cen Stele tells of an unrecorded military achievement against the Xiongnu in 137. I begin by discussing how court officials used this artefact to support the Qing imperial expansion into central Asia. The second episode identifies four major types of copies of the Pei Cen Stele—facsimiles, replicas, tracing copies, and forgeries—and examines their varied functions to the epigraphic community at the time. The final section analyses the transitional style of this inscription through calligraphers’ innovative transcriptions. Appropriations of the Pei Cen Stele in these political, social, and artistic contexts, I argue, pinpoint the idea of collecting as a form of invention in the Qing dynasty. Collectors invented the Pei Cen Stele as a symbol of prosperity, a cultural relic, and a calligraphy exemplar.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46070341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.1163/24684791-12340049
Josepha Richard
In the eighteenth to nineteenth century, British botanists collected thousands of Chinese plants to advance their knowledge of natural history. John Bradby Blake was the first British botanist to systematically collect Chinese plants in the 1770s, a time when foreigners could only access Guangzhou (Canton). This article demonstrates that Blake’s Chinese flora project heavily relied on the work of Chinese ‘go-betweens’, notably painter Mak Sau, who painted Chinese plants in a scientifically accurate manner. The genre of Canton Trade botanical paintings is a hybrid between European botanical tradition and Chinese bird-and-flower paintings that had previously been difficult to analyse owing to the lack of chronological evidence. Thanks to new data uncovered in different Blake collections, this article begins to untangle the chronology of these botanical paintings, and in the process uncovers the untold agency of Chinese ‘go-betweens’ in early Sino-Western scientific and cultural exchanges.
{"title":"Collecting Chinese Flora: Eighteenth- to Nineteenth-Century Sino-British Scientific and Cultural Exchanges as Seen through British Collections of China Trade Botanical Paintings","authors":"Josepha Richard","doi":"10.1163/24684791-12340049","DOIUrl":"https://doi.org/10.1163/24684791-12340049","url":null,"abstract":"\u0000In the eighteenth to nineteenth century, British botanists collected thousands of Chinese plants to advance their knowledge of natural history. John Bradby Blake was the first British botanist to systematically collect Chinese plants in the 1770s, a time when foreigners could only access Guangzhou (Canton). This article demonstrates that Blake’s Chinese flora project heavily relied on the work of Chinese ‘go-betweens’, notably painter Mak Sau, who painted Chinese plants in a scientifically accurate manner. The genre of Canton Trade botanical paintings is a hybrid between European botanical tradition and Chinese bird-and-flower paintings that had previously been difficult to analyse owing to the lack of chronological evidence. Thanks to new data uncovered in different Blake collections, this article begins to untangle the chronology of these botanical paintings, and in the process uncovers the untold agency of Chinese ‘go-betweens’ in early Sino-Western scientific and cultural exchanges.","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42367603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.1163/24684791-12340046
Phillip Grimberg
The second part of our special issue of Ming Qing Yanjiu on “Collecting, Collections, and Collectors” in late imperial China brings together a total of five articles, which approach our topic from very different perspectives and with a wide range of methodologies. In her article, “Collecting Chinese Objects in Slovenia at the Turn of the Twentieth Century”, Nataša Vampelj Suhadolnik addresses the practices of collecting Chinese objects in Slovenia as part of the Austro-Hungarian Empire in the late nineteenth and early twentieth centuries with a centre—periphery approach. She analyses how China was perceived in Slovenia through collected objects and how and to what extend these cultural contacts influenced collecting practices in Slovenia. Katharine P. Burnett, in her contribution on the famous collector, patron, and artist Pang Yuanji 龐元濟 (1864–1949) (“Pang Yuanji, Traditionalist/ Modernist”), sheds new light on the man who not only was a prominent proponent of traditionalist art circles in late imperial and republican China, but also—much less known—a “reformer and modernist” with a wide spectrum of social and cultural interests including, but not limited to, the arts. Exploring the connections between the British collections of Chinese plants and their commissions of China Trade art during the so-called Canton System period, Josepha Richard in her article “Collecting Chinese Flora: Eighteenthto Nineteenth-Century Sino-British Scientific and Cultural Exchanges as seen through British Collections of China Trade Botanical Paintings” elucidates Sino-Western exchanges during the late Qing dynasty, sparked by a newly
{"title":"Introduction to Special Issue on “Collecting, Collections, and Collectors”, Part 2","authors":"Phillip Grimberg","doi":"10.1163/24684791-12340046","DOIUrl":"https://doi.org/10.1163/24684791-12340046","url":null,"abstract":"The second part of our special issue of Ming Qing Yanjiu on “Collecting, Collections, and Collectors” in late imperial China brings together a total of five articles, which approach our topic from very different perspectives and with a wide range of methodologies. In her article, “Collecting Chinese Objects in Slovenia at the Turn of the Twentieth Century”, Nataša Vampelj Suhadolnik addresses the practices of collecting Chinese objects in Slovenia as part of the Austro-Hungarian Empire in the late nineteenth and early twentieth centuries with a centre—periphery approach. She analyses how China was perceived in Slovenia through collected objects and how and to what extend these cultural contacts influenced collecting practices in Slovenia. Katharine P. Burnett, in her contribution on the famous collector, patron, and artist Pang Yuanji 龐元濟 (1864–1949) (“Pang Yuanji, Traditionalist/ Modernist”), sheds new light on the man who not only was a prominent proponent of traditionalist art circles in late imperial and republican China, but also—much less known—a “reformer and modernist” with a wide spectrum of social and cultural interests including, but not limited to, the arts. Exploring the connections between the British collections of Chinese plants and their commissions of China Trade art during the so-called Canton System period, Josepha Richard in her article “Collecting Chinese Flora: Eighteenthto Nineteenth-Century Sino-British Scientific and Cultural Exchanges as seen through British Collections of China Trade Botanical Paintings” elucidates Sino-Western exchanges during the late Qing dynasty, sparked by a newly","PeriodicalId":29854,"journal":{"name":"Ming Qing Yanjiu","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45075273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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