Marginalia Transcription and Scholarly Culture in the Qing Dynasty

2021 ◽  
Vol 8 (2) ◽  
pp. 399-421
Author(s):  
Wei Yinzong
Keyword(s):  
Qing Dynasty ◽  
Time And Space ◽  
The Qing Dynasty ◽  
Transmission Of Information ◽  
Scholarly Practice ◽  
Reading Culture ◽  
Efficient Transmission ◽  
Book Culture

Abstract In the Qing, transcription of marginalia became common scholarly practice, involving a number of different people who created a new reading culture. This article follows the marginalia trail of scholar and calligrapher He Zhuo 何焯 through various transcribers and others involved in the process: He's disciples, later generations of scholars, bibliophiles, calligraphers, and booksellers. Connected through He's and others' marginalia across time and space, these transcribers established a network for the efficient transmission of information, knowledge, and thought. Transcription of such marginalia created a unique book culture that shaped scholarship, thought, and society in the Qing and produced critical texts that are still read today.

The Prefatory Self: Images of the Author in Traditional Chinese Drama

T oung Pao ◽  
2021 ◽  
Vol 107 (1-2) ◽  
pp. 95-132
Author(s):  
Guojun Wang
Keyword(s):  
Qing Dynasty ◽  
Social Roles ◽  
Chinese Opera ◽  
Late Imperial ◽  
The Qing Dynasty ◽  
Book Culture

Abstract This article considers representations of Chinese opera authors in the prefatory space of their theatrical works. Despite the longstanding tradition of portraiture and drama production in premodern China, existing materials suggest that pictorial depictions of the authors started to appear in play scripts primarily during the Qing dynasty. How are those images related to theatrical works and their authors? Instead of treating authorship as a type of ownership, this article studies the multifaceted nature of authorial images by examining the depiction of the authors’ hairstyles and clothing alongside other content in the front matter of those plays. Situating the phenomenon within the histories of Chinese drama, clothing, and book culture, this article argues that authors increasingly appeared in late imperial Chinese drama in their social roles, moving from the prefatory space to the drama script proper.

Grammatical Descriptions in Manchu Grammar Books from the Qing Dynasty

2019 ◽  
Vol 41 (1) ◽  
pp. 39-55
Author(s):  
Takashi Takekoshi
Keyword(s):  
19Th Century ◽  
Qing Dynasty ◽  
The Qing Dynasty ◽  
Chinese Scholars ◽  
High Degree ◽  
The 19Th Century

In this paper, we analyse features of the grammatical descriptions in Manchu grammar books from the Qing Dynasty. Manchu grammar books exemplify how Chinese scholars gave Chinese names to grammatical concepts in Manchu such as case, conjugation, and derivation which exist in agglutinating languages but not in isolating languages. A thorough examination reveals that Chinese scholarly understanding of Manchu grammar at the time had attained a high degree of sophistication. We conclude that the reason they did not apply modern grammatical concepts until the end of the 19th century was not a lack of ability but because the object of their grammatical descriptions was Chinese, a typical isolating language.

FROM THE HISTORY OF THE FORMATION OF THE IMPERIAL ACADEMY OF PAINTING IN CHINA

2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  
Keyword(s):  
Qing Dynasty ◽  
Shang Dynasty ◽  
The Qing Dynasty ◽  
Western Han Dynasty ◽  
Stage Of Development ◽  
Imperial Court ◽  
The Reformation ◽  
The Status ◽  
History Of ◽  
Imperial Academy

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.

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