貢品與時尚：明代川扇考論

明代研究 ◽  
2021 ◽  
Vol 37 (37) ◽  
pp. 001-068
Author(s):  
劉紫依 劉紫依
Keyword(s):  
Material Culture ◽  
Ming Dynasty ◽  
Close Association ◽  
Subsequent Development ◽  
Past Research ◽  
Late Ming ◽  
Rich Diversity ◽  
The Rich ◽  
Made In ◽  
The Ming Dynasty

<p>摺扇的普及，是明代社會風尚異於前代的物質表徵之一。晚明最盛行的二種摺扇中，蘇州摺扇以書畫扇面與精製扇骨著稱，四川摺扇則以進貢聞名，明人常簡稱之為「川扇」、「蜀扇」等，川扇廣義上亦包括各地的仿製品。過往對中國摺扇的研究，多側重扇面書畫藝術與江南製扇工藝，對明代社會生活與物質文化的討論，則一般認為明代宮廷品味的時尚影響、文化底蘊相對不高，川扇不重書畫，又與明代宮廷關係密切，其興衰歷史、風格特點、文化內涵皆未得到充分探討。本文將考證川扇的興衰歷史，並梳理文獻、圖像中川扇的特徵，與明墓屢見出土的無書畫金面摺扇實物比對，指出後者應屬川式扇，並辨析川扇與日本、蘇州、杭州、榮昌等地摺扇的關係，思考不以書畫著稱的川扇在中國摺扇史中的地位，也探究川扇作為方物、貢品、賜物、禮物、商品等在明代的社會文化內涵。川扇大致發端於明初，此後進貢宮廷並成為時尚，作為明代高檔無書畫摺扇的代表，是蘇州書畫扇以外，明代摺扇發展的另一重要線索，體現了明代摺扇文化的豐富性，還對杭州摺扇影響深遠；川扇到晚明已與國計民生、世風人情有深密的交織，後隨明亡而衰落，是明代物質文化中極富時代特色的內容。</p> <p>&nbsp;</p><p>The unprecedented prevalence of folding fans marked one of the significant developments in social customs in the Ming dynasty. Folding fans made in Suzhou and Sichuan were the most famous ones in the late Ming. Suzhou folding fans were renowned for fan leaves decorated with calligraphy and painting and for delicate fan frames, while Sichuan folding fans were famous as tribute to the imperial court. The latter were usually abbreviated as &ldquo;Chuan fans&rdquo; or &ldquo;Shu fans&rdquo; in Ming sources. In a broad sense, Chuan fans also included folding fans in the Sichuan style made in other places in the late Ming. The history, features and culture of Chuan fans have not been fully examined for two reasons. First, past research has mainly focused on literati fan calligraphy and painting and the fan-making craft in Jiangnan. And, second, Chuan fans had close association with the court, but the tastes of Ming court has been generally disregarded by scholars as lacking in cultural depth. Drawing on texts and images, this essay sorts out the history and characteristics of Chuan fans, and links them with the folding fans excavated from Ming tombs, which feature golden leaves without calligraphy and painting. This paper also explores the connections between Chuan fans and those produced in Japan, Suzhou, Hangzhou, and Rongchang, and considers the broader place of Chuan fans in the history of Chinese folding fans. Furthermore, this essay explores the social and cultural implications of Chuan fans in the Ming dynasty as local specialties, tributes, bestowals, gifts, commodities and so on. Chuan fans generally appeared in the early Ming, and then became tribute goods as well as trendy items. Representing luxury folding fans that did not have painting or calligraphy, Chuan fans were no less important than the art-adorned Suzhou folding fans. indicating the rich diversity of Ming folding fan culture. Chuan fans also had a deep influence on the subsequent development of Hangzhou folding fans. By the late Ming, Chuan fans had already been closely connected with many aspects of Ming society. As the Ming dynasty fell, Chuan fans also declined, thus remaining of the unique elements of Ming material culture.</p> <p>&nbsp;</p>

Courtesan vs. Literatus: Gendered Soundscapes and Aesthetics in Late-Ming Singing Culture

T oung Pao ◽  
2014 ◽  
Vol 100 (4-5) ◽  
pp. 404-459 ◽  
Author(s):  
Peng Xu
Keyword(s):  
Ming Dynasty ◽  
Vocal Performance ◽  
Hybrid Nature ◽  
Late Ming ◽  
Singing Style ◽  
The Way ◽  
The Ming Dynasty

This article examines the gendering of singing in the last few decades of the Ming dynasty and its connections with certain specific sonic environments. By reading together an assemblage of texts of a hybrid nature and considering each one as a complex literary or pictorial production growing out of the vibrant singing culture of the day, the author reconstructs the way in which certain soundscapes influenced and harmonized with two contrasting modes of vocal performance—the intimate “oriole”-like singing and the more masculine “crane” performing style. One observes further the rise of a new singing style that mingled the gendered categories of singing prevailing at the time and was related to the flourishing of outdoor singing festivals starting from the 1570s.
Cet article s’intéresse à la sexualisation de l’art du chant pendant les dernières décennies des Ming et à la façon dont elle était connectée avec certains environ-nements acoustiques particuliers. La lecture combinée d’une série de textes de nature hybride, considéré chacun comme une production littéraire ou picturale complexe née du dynamisme qui marquait la culture vocale de l’époque, permet à l’auteur de reconstituer la façon dont certains “paysages acoustiques” influençaient deux modes contrastés d’interprétation vocale — le style intime assimilé au chant du loriot et le mode d’interprétation plus masculin associé à celui de la grue — et s’harmonisaient avec eux. On observe en outre l’émergence d’un nouveau style vocal qui mêle les catégories sexualisées prévalant alors dans l’art du chant et qui est associé à l’essor des festivals de chant en plein air à partir des années 1570.


A Friendship of Metal and Stone: Representations of Fan Juqing and Zhang Yuanbo in the Ming Dynasty

NAN Nü ◽  
2007 ◽  
Vol 9 (1) ◽  
pp. 111-145
Author(s):  
Kimberly Besio
Keyword(s):  
Short Story ◽  
Ming Dynasty ◽  
Dramatic Literature ◽  
Literary Genres ◽  
Vernacular Literature ◽  
Male Friendship ◽  
Essential Aspect ◽  
Late Ming ◽  
The Ming Dynasty

AbstractThis essay examines representation of male friendship in Ming vernacular literature through an analysis of works that retell the story of two late Han friends, Fan Juqing and Zhang Yuanbo. Throughout the Ming, versions of the tale were produced in a variety of literary genres including a zaju play and a vernacular short story. Both the drama and the short story are extant in multiple editions, providing us insights into how they were interpreted by various literati editors. The durability of the friendship between Fan and Zhang—an essential aspect in all depictions of their story—is vividly evoked by the phrase that characterizes their relationship in dramatic literature: "a friendship of metal and stone." The late Ming editions of the play and the short story underline the two friends' unbending commitment to their friendship through a variety of textual and paratextual additions and emendations. In the hands of these late Ming literati editors the two friends Fan and Zhang thus become heroic figures worthy of eternal respect.

Political Drama in the Ming-Qing Transition: A Study of Four Plays

2012 ◽  
Vol 17 (01) ◽  
pp. 1-34
Author(s):  
Alison Hardie
Keyword(s):  
Ming Dynasty ◽  
Li Yu ◽  
Late Ming ◽  
Political Events ◽  
Political Drama ◽  
Late Ming Dynasty ◽  
The Late Ming Dynasty ◽  
The Phoenix ◽  
The Ming Dynasty

In the late Ming dynasty, a new genre of drama arose, which presented on stage recent political events, featuring real historical persons; this genre continued across the Ming-Qing transition. The earliest and one of the best known examples is The Cry of the Phoenix (Ming feng ji), dramatising the conflict between corrupt minister Yan Song (1481-1568) and upright official Yang Jisheng (1516-1555), and probably written by someone in the literary circle of Wang Shizhen (1526-1590). The genre reached its apogee in Kong Shangren’s (1648-1718) The Peach Blossom Fan (Taohua shan). Around the Ming-Qing transition, in the Chongzhen and Shunzhi reigns, a considerable number of plays focused on the conflict during the preceding Tianqi reign between the Eastern Grove (Donglin) faction and the chief eunuch Wei Zhongxian (1568-1627). Eleven plays on this subject are known, of which three survive: Fan Shiyan’s Eunuch Wei Grinds Down the Loyal (Wei jian mo zhong ji), the Clear-Whistling Scholar’s (Qingxiaosheng) A Happy Encounter with Spring (Xi feng chun), and Li Yu’s 李玉 A Roster of the Pure and Loyal (Qing zhong pu). Basing my argument on an examination of these plays and of another play by Li Yu, Reunion across Ten Thousand Miles (Wan li yuan), also based on contemporary events, I suggest that the lively version of events given by these political dramas both reflected and helped to develop and spread the popularly accepted view of late-Ming and Southern Ming factional conflict leading to the fall of the Ming dynasty. According to this view, broadly following the Eastern Grove and Revival Society (Fushe) narrative, the decline and fall of the Ming dynasty was the fault of corrupt officials and evil palace eunuchs who misled the Emperor and were bravely resisted by righteous and incorruptible officials who fell as martyrs to their unprincipled opponents. This simplistic view, endorsed to a great extent in the official Ming History (Ming shi), which was mostly written by former Eastern Grove and Revival Society adherents, has persisted in the popular mind to the present day. I also argue that, after the establishment of the Qing, political drama could serve as a vehicle for the covert expression of Ming loyalism.

The Compilation, Publication and Dissemination of Rhyme Books and Rhyme Tables in Ming Dynasty

2012 ◽  
Vol 6 (1) ◽  
pp. 93-120
Author(s):  
Yun-Shan Sung
Keyword(s):  
Ming Dynasty ◽  
Great Increase ◽  
New Schools ◽  
Significant Progress ◽  
Paper Making ◽  
Ming And Qing Dynasties ◽  
Woodblock Printing ◽  
Book Publishers ◽  
Made In ◽  
The Ming Dynasty

The Ming and Qing Dynasties were a flourishing period for phonological studies. It witnessed the compilation of various rhyme books and rhyme tables, each with its particular features. Book printing during the Ming Dynasty saw a great increase in both the quantity and diversity of published works, while at the same time significant progress was made in the technologies of moveable type printing, multiple woodblock printing and printmaking. This paper investigates the conservative and innovative practices of rhyme book publishers and their publications. It also investigates how the interaction between the printing and publishing industries contributed to their common prosperity. It is found that the vigorous development of publication in both official and private sectors was the result of factors including favorable government policy, expansion of school education, growth of city economies, prosperity of the paper-making industry and advancement in printing technology, as well as the influence of new schools of literary and academic thought. The flourishing rhyme book and rhyme table publication during the Ming Dynasty cannot be understood independently of the academic currents and common publishing practices of the time.

Ideology and Sexuality: Rape Laws in Qing China

1987 ◽  
Vol 46 (1) ◽  
pp. 57-70 ◽  
Author(s):  
Vivien W. Ng
Keyword(s):  
Ming Dynasty ◽  
Female Sexuality ◽  
Sexual Life ◽  
Sexual Relations ◽  
Made In ◽  
The Ming Dynasty

It is generally accepted that Qing China (1644–1912) was a straitlaced, sexually repressed society. Robert H. van Gulik, for example, ended his study of sexual life in China with the fall of the Ming dynasty, in part because he believed that Chinese attitudes toward sexuality became much more repressive after the Ming, and the generalizations he made in his book were not appropriate for the Qing (1961:333–36). This dramatic change in attitude has been attributed to the resurgence of Cheng- Zhu Neo-Confucianism, with its strict view of sexual relations in general, and female sexuality in particular (Ropp 1981:120–24).

The Courtesan as Famous Scholar: The Case of Wang Wei (ca. 1598-ca. 1647)

T oung Pao ◽  
2020 ◽  
Vol 105 (5-6) ◽  
pp. 587-630
Author(s):  
Sufeng Xu
Keyword(s):  
Ming Dynasty ◽  
Multiple Identities ◽  
Friendship Networks ◽  
Social Formation ◽  
Government Service ◽  
Late Ming ◽  
Urban Elites ◽  
Strongly Connected ◽  
Wang Wei ◽  
The Ming Dynasty

Abstract This article examines the life and poetry of Wang Wei, one of the most distinguished courtesan poets of the Ming dynasty. Through an examination of her courtesan career, her friendship networks in literati circles, and her adoption of multiple identities such as xianren (person of leisure), daoren (person of the Dao), and shiren (poet), it seeks to illustrate what I believe is an important explanation for the flourishing of late Ming courtesan and literati culture. The rising prominence of learned and literary courtesans was strongly connected to a new social formation of nonconformist literati, the “men of the mountains” (shanren). These nonofficial urban elites of the prosperous Jiangnan region fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government service. In constructing an “artistic and hedonistic counterculture,” they encouraged the involvement of both courtesans and literary women of the gentry class.

scholarly journals Wine in the Traditions of the Thracians: Modern Research and Manifestations

2021 ◽  
Vol 7 (2) ◽  
pp. 172-180
Author(s):  
Vesela Vasileva Georgieva ◽  
Keyword(s):  
Material Culture ◽  
Cultural Heritage ◽  
Scientific Practices ◽  
Scientific Seminar ◽  
Wine Production ◽  
Unique Material ◽  
History Of ◽  
World Cultural Heritage ◽  
The Rich ◽  
Made In

The significance of the topics of the Thracian culture and wine production have been conceived and presented over the years through various forms, such as the numerous events, some of which have established practices and traditions over the years. The centuries-old history of the Thracians and the concentration of the numerous monuments of Thracian culture in Bulgaria give grounds for many cultural institutions to include in their cultural calendars events presenting the rich Thracian cultural heritage and modern scientific achievements. No less important is the fact that the monuments of Thracian culture studied over the years and the discoveries made in them, testify to the elegance and unique material culture of the Thracians, whose models are unparalleled in the world cultural heritage. This in turn creates the need for their preservation, socialization and transmission to future generations. This topic covers the interpretation of the specifics and contribution to the presentation of cultural heritage in the context of the National Scientific Expedition Club UNESCO Scientific Seminar "Thracians and Wine", whose main goals, activities and tasks will be presented in detail in this paper. Keywords: Thracians; Wine; Cultural Heritage; Scientific Practices; Scientific Seminar

Things in Between: Splendour and Excess in Ming China

2012 ◽  
Author(s):  
Craig Clunas
Keyword(s):  
Political Economy ◽  
Material Culture ◽  
Ming Dynasty ◽  
Religious Buildings ◽  
Printed Books ◽  
Universal Order ◽  
The Ming Dynasty

There is plenty of evidence that, during the Ming dynasty in China, the enjoyment of the fruits of commerce was not so frowned upon as the texts of orthodox morality and political economy might imply. The enormous quantities of surviving Ming material culture, which are continuously being augmented by archaeology (since people were buried with goods for use in the afterlife), range from secular and religious buildings, the paintings and calligraphy produced and consumed by the elite, through printed books, furniture, metalwork, textiles, jewellery, carving in a variety of materials from jade to bamboo, and ceramics to weapons and tools. What we find in Ming texts are ways of talking about what we now call ‘consumption’ in ways that are either negative or positive, but which are never detached from a discourse of morality, of good (or bad) governance, and ultimately of a universal order that links humanity and its actions to wider cosmic matters of harmony or disjointedness. This article discusses splendour and excess in Ming China.

Social Hierarchy and Merchant Philanthropy as Perceived in Several Late-Ming and Early-Qing Texts

1998 ◽  
Vol 41 (3) ◽  
pp. 417-451 ◽  
Author(s):  
Joanna Handlin Smith
Keyword(s):  
Ming Dynasty ◽  
Social Hierarchy ◽  
Social Connections ◽  
Moral Purpose ◽  
Late Ming ◽  
The Social ◽  
Moral Instruction ◽  
The Ming Dynasty

AbstractFollowing the fall of the Ming dynasty in 1644, literati questioned the social hierarchy, acknowledged merchants as philanthropists, and revised their understanding of gifts and donations. Using several texts (by Tang Zhen and Wei Xi, in particular), this paper proposes that early-Qing literati reconceptualized some of the goals of philanthropy. Where late-Ming philanthropy aimed (among other things) to spread moral instruction and affirm the superior status of scholar-officials, the early-Qing Wei Xi condoned merchant use of philanthropy to build social connections. Thus, the high moralizing of late-Ming philanthropy gave way to perceptions that the recipients of aid were directly obligated to their benefactors. The weakening of the moral purpose of philanthropy and the intensification of donor-beneficiary relations sparked a trend to routinize philanthropy (through forced donations and quasi-taxation), thereby diminishing the room for and significance of individual initiative.

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