Pub Date : 2024-06-11DOI: 10.1080/0147037x.2024.2356470
Xuyang Gao, Anke Hein
{"title":"Building fame through tea: The Wu Family and the Manufacture of\u0000 zisha\u0000 teapots during the Ming and Qing dynasties","authors":"Xuyang Gao, Anke Hein","doi":"10.1080/0147037x.2024.2356470","DOIUrl":"https://doi.org/10.1080/0147037x.2024.2356470","url":null,"abstract":"","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141360501","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 : 2024-05-23DOI: 10.1080/0147037x.2024.2347800
Minoru Takano
{"title":"Military Migration and the Poetics of Place: Migrant Literature of Li Dongyang (1447–1516)","authors":"Minoru Takano","doi":"10.1080/0147037x.2024.2347800","DOIUrl":"https://doi.org/10.1080/0147037x.2024.2347800","url":null,"abstract":"","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141103218","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 : 2024-05-23DOI: 10.1080/0147037x.2024.2354629
Sarah Schneewind, Anne Gerritsen, David Robinson
{"title":"Geiss-Hsu Ming Book Awards 2024","authors":"Sarah Schneewind, Anne Gerritsen, David Robinson","doi":"10.1080/0147037x.2024.2354629","DOIUrl":"https://doi.org/10.1080/0147037x.2024.2354629","url":null,"abstract":"","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141104185","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 : 2024-05-09DOI: 10.1080/0147037x.2024.2342171
Paolo Santangelo
This essay delves into the significance of self-cultivation in the thought of Li Zhi (1527–1602), particularly the process of rediscovering one’s childlike innocence (tongxin 童心). This journey chal...
{"title":"Self-cultivation according to Li Zhi and its Paradoxes","authors":"Paolo Santangelo","doi":"10.1080/0147037x.2024.2342171","DOIUrl":"https://doi.org/10.1080/0147037x.2024.2342171","url":null,"abstract":"This essay delves into the significance of self-cultivation in the thought of Li Zhi (1527–1602), particularly the process of rediscovering one’s childlike innocence (tongxin 童心). This journey chal...","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140925952","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 : 2024-03-14DOI: 10.1080/0147037x.2024.2325799
Jun Fang
Published in Ming Studies (Ahead of Print, 2024)
发表于《明代研究》（2024 年，提前出版）
{"title":"The Price of Collapse: The Little Ice Age and the Fall of Ming China","authors":"Jun Fang","doi":"10.1080/0147037x.2024.2325799","DOIUrl":"https://doi.org/10.1080/0147037x.2024.2325799","url":null,"abstract":"Published in Ming Studies (Ahead of Print, 2024)","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140156867","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 : 2023-11-08DOI: 10.1080/0147037x.2023.2267354
Kathleen Ryor
AbstractIn The Collected Sayings from the Four Friends Studio, the sixteenth-century author He Liangjun’s two chapters on painting provides a detailed picture of how literati critics continued to construct artistic lineages and shape hierarchies of criteria for evaluating painting prior to Dong Qichang (1555–1636). Although this text has been widely quoted by art historians, its use has been highly selective, obscuring the larger textual context for He’s remarks. This annotated translation presents the sections on painting found in The Collected Sayings in its entirety. While He Liangjun’s discussion of painting can be repetitious, asynchronous, contradictory, and contains abrupt transitions between topics, clear themes and agendas emerge and are pivotal for the development of later painting theory and criticism.Keywords: He Liangjunpainting criticismSiyouzhai congshuo Notes1 Translator’s Note: The text used for this translation is found in He Liangjun, Si you zhai cong shuo 四友齋叢說, (Beijing: Zhonghua shuju, 1997), pp. 255–269. In my translation of He Liangjun’s On Painting, I have tried to adhere as closely as possible to the author’s original language. Unfortunately He often uses different names (formal [ming 名], style names [zi 字], and various sobriquets [hao 號] for the same painter throughout his text), making it confusing even for readers familiar with pre-modern China. For the sake of consistency, in cases where an artist is mentioned more than once in the text, I have used that person’s formal name throughout, but include a footnote indicating the name found in the original. The first mention of an artist also has a footnote with the person’s dates and brief biographical information. Throughout the citations, I refer to Yu Jianhua, ed., Zhongguo meishujia renming cidian (Shanghai: Shanghai renmin meishu chubanshe, 1985) as ZMRC. While I strove to make the translation as clear as possible in English, I also tried not to deviate too far from the original Chinese grammar; as a result, the overall style of the prose reflects this inevitable compromise. I would like to thank Ann Waltner, Rivi Handler-Spitz and all of the various members of the classical Chinese reading group based at the University of Minnesota and Jennifer Purtle of the University of Toronto for their patient reading of the text and my translation. While they critiqued my various draft translations and provided helpful advice and suggestions, any errors or omission remain my own.2 He Liangjun (1506–1573), was a native of Huating, Songjiang prefecture was born into a wealthy landlord family and inherited the estate of his uncle. Highly educated, he nonetheless failed to pass the provincial level examinations (juren) and devoted most of his career to scholarship. The Si you zhai cong shuo 四友齋叢說 is named for his studio, “The Four Friends Studio” which alluded to the philosopher Zhuangzi, Vimilakirti, the disciple of the Buddha, the Tang dynasty poet Bai Juyi, and himself. See L.
{"title":"He Liangjun 何良俊 (1506–1573), <i>On Painting</i> : An Annotated Translation","authors":"Kathleen Ryor","doi":"10.1080/0147037x.2023.2267354","DOIUrl":"https://doi.org/10.1080/0147037x.2023.2267354","url":null,"abstract":"AbstractIn The Collected Sayings from the Four Friends Studio, the sixteenth-century author He Liangjun’s two chapters on painting provides a detailed picture of how literati critics continued to construct artistic lineages and shape hierarchies of criteria for evaluating painting prior to Dong Qichang (1555–1636). Although this text has been widely quoted by art historians, its use has been highly selective, obscuring the larger textual context for He’s remarks. This annotated translation presents the sections on painting found in The Collected Sayings in its entirety. While He Liangjun’s discussion of painting can be repetitious, asynchronous, contradictory, and contains abrupt transitions between topics, clear themes and agendas emerge and are pivotal for the development of later painting theory and criticism.Keywords: He Liangjunpainting criticismSiyouzhai congshuo Notes1 Translator’s Note: The text used for this translation is found in He Liangjun, Si you zhai cong shuo 四友齋叢說, (Beijing: Zhonghua shuju, 1997), pp. 255–269. In my translation of He Liangjun’s On Painting, I have tried to adhere as closely as possible to the author’s original language. Unfortunately He often uses different names (formal [ming 名], style names [zi 字], and various sobriquets [hao 號] for the same painter throughout his text), making it confusing even for readers familiar with pre-modern China. For the sake of consistency, in cases where an artist is mentioned more than once in the text, I have used that person’s formal name throughout, but include a footnote indicating the name found in the original. The first mention of an artist also has a footnote with the person’s dates and brief biographical information. Throughout the citations, I refer to Yu Jianhua, ed., Zhongguo meishujia renming cidian (Shanghai: Shanghai renmin meishu chubanshe, 1985) as ZMRC. While I strove to make the translation as clear as possible in English, I also tried not to deviate too far from the original Chinese grammar; as a result, the overall style of the prose reflects this inevitable compromise. I would like to thank Ann Waltner, Rivi Handler-Spitz and all of the various members of the classical Chinese reading group based at the University of Minnesota and Jennifer Purtle of the University of Toronto for their patient reading of the text and my translation. While they critiqued my various draft translations and provided helpful advice and suggestions, any errors or omission remain my own.2 He Liangjun (1506–1573), was a native of Huating, Songjiang prefecture was born into a wealthy landlord family and inherited the estate of his uncle. Highly educated, he nonetheless failed to pass the provincial level examinations (juren) and devoted most of his career to scholarship. The Si you zhai cong shuo 四友齋叢說 is named for his studio, “The Four Friends Studio” which alluded to the philosopher Zhuangzi, Vimilakirti, the disciple of the Buddha, the Tang dynasty poet Bai Juyi, and himself. See L.","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135341591","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 : 2023-11-07DOI: 10.1080/0147037x.2023.2268443
Kathleen Ryor, Julia K. Murray
Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the authors.Notes1 “Representations of Hāritī, the Mother of Demons, and the Theme of ‘Raising the Alms-bowl’ in Chinese Painting,” Artibus Asiae 43 (1981/82): 253–84. https://doi.org/10.2307/3249844.2 “Sung Kao-tsung, Ma Ho-chih, and the Mao Shih Scrolls” (1981), later expanded into a book, Ma Hezhi and the Illustration of the Book of Odes (Cambridge: Cambridge University Press, 1993).3 “The Ladies’ Classic of Filial Piety and Southern Sung Textual Illustration: Problems of Reconstruction and Artistic Context,” Ars Orientalis 18 (1988): 95–129 (open access, from https://archive.org/details/arsorient181919881989univ/page/n106/mode/1up to https://archive.org/details/arsorient181919881989univ/page/n140/mode/1up); also “Didactic Art for Women: The Ladies’ Classic of Filial Piety,” in Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, edited by Marsha Weidner (Honolulu: University of Hawaii Press, 1990), pp. 27–53.4 See https://archive.org/details/arsorient181919881989univ/page/n110/mode/1up.5 “The Evolution of Buddhist Narrative Illustration in China after 850,” in Latter Days of the Law: Chinese Buddhist Pictorial Art, 850–1850, edited by Marsha Weidner (Honolulu: University of Hawai’i Press, 1994), pp. 125–49.6 “Varied Views of the Sage: Illustrated Narratives of the Life of Confucius,” in On Sacred Grounds: Culture, Society, Politics, and the Formation of the Temple of Confucius, edited by Thomas A. Wilson (Cambridge, Mass.: Harvard University Press, 2002), pp. 222–64. My initial study, with a detailed appendix listing all the examples I had found to date, was published as “Illustrations of the Life of Confucius: Their Evolution, Functions, and Significance in Late Ming China,” Artibus Asiae 57, no. 1–2 (1997): 73–134. https://doi.org/10.2307/3249952.7 “Didactic Illustrations in Printed Books,” in Printing and Book Culture in Late Imperial China, edited by Cynthia J. Brokaw and Kai-wing Chow (Berkeley: University of California Press, 2005), pp. 417–50. https://doi.org/10.1525/california/9780520231269.003.0011.8 The Aura of Confucius: Relics and Representations of the Sage at the Kongzhai Shrine in Shanghai (Cambridge: Cambridge University Press, 2021); Confucius: His Life and Legacy in Art, co-authored with Wensheng Lu (New York: China Institute in America, 2010); and Mirror of Morality: Chinese Narrative Illustration and Confucian Ideology (Honolulu: University of Hawai’i Press, 2007); Chinese edition 道德镜鉴：中国叙述性图画与儒家意识形态。何前译。开放的艺术史丛书 (北京：三联书店有限公司, 2014).9 “Didactic Picturebooks for Late Ming Emperors and Princes” in Culture, Courtiers, and Competition: The Ming Court, 1368–1644, edited by David Robinson (Cambridge, Mass.: Harvard University Asia Center, 2008), pp. 231–68.10 A Decade of Discovery: Selected Acquisitions, 1970–1980 (Washington, DC: Freer Gallery of Art, 1979). Available online
{"title":"Julia Murray interviewed by Kathleen Ryor","authors":"Kathleen Ryor, Julia K. Murray","doi":"10.1080/0147037x.2023.2268443","DOIUrl":"https://doi.org/10.1080/0147037x.2023.2268443","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the authors.Notes1 “Representations of Hāritī, the Mother of Demons, and the Theme of ‘Raising the Alms-bowl’ in Chinese Painting,” Artibus Asiae 43 (1981/82): 253–84. https://doi.org/10.2307/3249844.2 “Sung Kao-tsung, Ma Ho-chih, and the Mao Shih Scrolls” (1981), later expanded into a book, Ma Hezhi and the Illustration of the Book of Odes (Cambridge: Cambridge University Press, 1993).3 “The Ladies’ Classic of Filial Piety and Southern Sung Textual Illustration: Problems of Reconstruction and Artistic Context,” Ars Orientalis 18 (1988): 95–129 (open access, from https://archive.org/details/arsorient181919881989univ/page/n106/mode/1up to https://archive.org/details/arsorient181919881989univ/page/n140/mode/1up); also “Didactic Art for Women: The Ladies’ Classic of Filial Piety,” in Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, edited by Marsha Weidner (Honolulu: University of Hawaii Press, 1990), pp. 27–53.4 See https://archive.org/details/arsorient181919881989univ/page/n110/mode/1up.5 “The Evolution of Buddhist Narrative Illustration in China after 850,” in Latter Days of the Law: Chinese Buddhist Pictorial Art, 850–1850, edited by Marsha Weidner (Honolulu: University of Hawai’i Press, 1994), pp. 125–49.6 “Varied Views of the Sage: Illustrated Narratives of the Life of Confucius,” in On Sacred Grounds: Culture, Society, Politics, and the Formation of the Temple of Confucius, edited by Thomas A. Wilson (Cambridge, Mass.: Harvard University Press, 2002), pp. 222–64. My initial study, with a detailed appendix listing all the examples I had found to date, was published as “Illustrations of the Life of Confucius: Their Evolution, Functions, and Significance in Late Ming China,” Artibus Asiae 57, no. 1–2 (1997): 73–134. https://doi.org/10.2307/3249952.7 “Didactic Illustrations in Printed Books,” in Printing and Book Culture in Late Imperial China, edited by Cynthia J. Brokaw and Kai-wing Chow (Berkeley: University of California Press, 2005), pp. 417–50. https://doi.org/10.1525/california/9780520231269.003.0011.8 The Aura of Confucius: Relics and Representations of the Sage at the Kongzhai Shrine in Shanghai (Cambridge: Cambridge University Press, 2021); Confucius: His Life and Legacy in Art, co-authored with Wensheng Lu (New York: China Institute in America, 2010); and Mirror of Morality: Chinese Narrative Illustration and Confucian Ideology (Honolulu: University of Hawai’i Press, 2007); Chinese edition 道德镜鉴：中国叙述性图画与儒家意识形态。何前译。开放的艺术史丛书 (北京：三联书店有限公司, 2014).9 “Didactic Picturebooks for Late Ming Emperors and Princes” in Culture, Courtiers, and Competition: The Ming Court, 1368–1644, edited by David Robinson (Cambridge, Mass.: Harvard University Asia Center, 2008), pp. 231–68.10 A Decade of Discovery: Selected Acquisitions, 1970–1980 (Washington, DC: Freer Gallery of Art, 1979). Available online ","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135474951","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 : 2023-09-19DOI: 10.1080/0147037x.2023.2249327
Shiyun Wang
This study applies an interdisciplinary approach to the study of Ming period courtesans (ji 妓) and their activities, combining the close reading of literature and Ming era visual presentations, with insights drawn from the fields of modern courtship and nonverbal behavioral studies to investigate their strategies of signaling seduction. In the Ming era, courtesans used a series of seduction strategies to achieve their goals in the process of interacting with male clients, dividing the entire courtship process into four phases: attention catching, interacting, and developing intimacy, lovemaking, and post-passion transition back to mundane interaction. This study pays close attention to the first two phases. The strategies of the first stage include posture readiness, prop handling, gestural movements, and vocal manipulation. The strategies of the second stage include conversations and touching. Developing high-level skills in signaling seduction was crucial to success in the career of a Ming courtesan. The specific strategies and the order in which they occurred did not appear to be fixed, but courtesans had to be sensitive and adaptable depending to the personalities and needs of their guests.
{"title":"Signaling Seduction: The Courtship Strategies of Ming Era Courtesans","authors":"Shiyun Wang","doi":"10.1080/0147037x.2023.2249327","DOIUrl":"https://doi.org/10.1080/0147037x.2023.2249327","url":null,"abstract":"This study applies an interdisciplinary approach to the study of Ming period courtesans (ji 妓) and their activities, combining the close reading of literature and Ming era visual presentations, with insights drawn from the fields of modern courtship and nonverbal behavioral studies to investigate their strategies of signaling seduction. In the Ming era, courtesans used a series of seduction strategies to achieve their goals in the process of interacting with male clients, dividing the entire courtship process into four phases: attention catching, interacting, and developing intimacy, lovemaking, and post-passion transition back to mundane interaction. This study pays close attention to the first two phases. The strategies of the first stage include posture readiness, prop handling, gestural movements, and vocal manipulation. The strategies of the second stage include conversations and touching. Developing high-level skills in signaling seduction was crucial to success in the career of a Ming courtesan. The specific strategies and the order in which they occurred did not appear to be fixed, but courtesans had to be sensitive and adaptable depending to the personalities and needs of their guests.","PeriodicalId":41737,"journal":{"name":"Ming Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135014455","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：