Religion And Prison Art In Ming China 1368 1644

Approaching the prison as a creative environment and imprisoned officials as creative subjects in Ming China (1368-1644), Ying Zhang introduces important themes at the intersection of premodern Chinese religion, poetry, and visual and material culture.

History of art / art & design styles.

Screen of Kings is the first book in any language to examine the cultural role of the regional aristocracy – relatives of the emperors – in Ming dynasty China (1368–1644). Through an analysis of their patronage of architecture, calligraphy, painting and other art forms, and through a study of the contents of their splendid and recently-excavated tombs, this innovative study puts the aristocracy back at the heart of accounts of China’s culture, from which they have been excluded until very recently. Screen of Kings challenges much of the received wisdom about Ming China. Craig Clunas sheds new light on many familiar artworks, as well as work that have never before been reproduced. New archaeological discoveries have furnished the author with evidence of the lavish and spectacular lifestyles of these provincial princes and demonstrate how central the imperial family was to the high culture of the Ming era. Written by the leading specialist in the art and culture of the Ming period, this book will illuminate a key aspect of China’s past, and will significantly alter our understanding of the Ming. It will be enjoyed by anyone with a serious interest in the history and art of this great civilization.

Iconoclastic scholar Li Zhi (1527–1602) was a central figure in the cultural world of the late Ming dynasty. His provocative and controversial words and actions shaped print culture, literary practice, attitudes toward gender, and perspectives on Buddhism and the afterlife. Although banned, his writings were never fully suppressed, because they tapped into issues of vital significance to generations of readers. His incisive remarks, along with the emotional intensity and rhetorical power with which he delivered them, made him an icon of his cultural moment and an emblem of early modern Chinese intellectual dissent. In this volume, leading China scholars demonstrate the interrelatedness of seemingly discrete aspects of Li Zhi’s thought and emphasize his far-reaching impact on his contemporaries and successors. In doing so, they challenge the myth that there was no tradition of dissidence in premodern China.

This book is a comprehensive and inviting introduction to the literary forms and cultural significance of Chinese drama as both text and performance. Each chapter offers an accessible overview and critical analysis of one or more plays—canonical as well as less frequently studied works—and their historical contexts. How to Read Chinese Drama highlights how each play sheds light on key aspects of the dramatic tradition, including genre conventions, staging practices, musical performance, audience participation, and political resonances, emphasizing interconnections among chapters. It brings together leading scholars spanning anthropology, art history, ethnomusicology, history, literature, and theater studies. How to Read Chinese Drama is straightforward, clear, and concise, written for undergraduate students and their instructors as well as a wider audience interested in world theater. For students of Chinese literature and language, the book provides questions to explore when reading, watching, and listening to plays, and it features bilingual excerpts. For teachers, an analytical table of contents, a theater-specific chronology of events, and lists of visual resources and translations provide pedagogical resources for exploring Chinese theater within broader cultural and comparative contexts. For theater practitioners, the volume offers deeply researched readings of important plays together with background on historical performance conventions, audience responses, and select modern adaptations.

The Plum in the Golden Vase (also known as The Golden Lotus) was published in the early seventeenth century and may be the first long work of Chinese fiction written by a single (though anonymous) author. Featuring both complex structural elements and psychological and emotional realism, the novel centers on the rich merchant Ximen Qing and his household and describes the physical surroundings and material objects of a Ming Dynasty city. In part a social, political, and moral critique, the novel reflects on hierarchical power relations of family and state and the materialism of life at the time. The essays in this volume provide ideas for teaching the novel using a variety of approaches, from questions of genre, intertextuality, and the novel's reception to material culture, family and social dynamics, and power structures in sexual relations. Insights into the novel's representation of Buddhism, Chinese folk religion, legal culture, class, slavery, and obscenity are offered throughout the volume.

After overthrowing the Mongol Yuan dynasty, Zhu Yuanzhang, the founder of the Ming dynasty (1368-1644), proclaimed that he had obtained the Mandate of Heaven (Tianming), enabling establishment of a spiritual orientation and social agenda for China. Zhu, emperor during the Ming’s Hongwu reign period, launched a series of social programs to rebuild the empire and define Chinese cultural identity. To promote its reform programs, the Ming imperial court issued a series of legal documents, culminating in The Great Ming Code (Da Ming lu), which supported China’s legal system until the Ming was overthrown and also served as the basis of the legal code of the following dynasty, the Qing (1644-1911). This companion volume to Jiang Yonglin’s translation of The Great Ming Code (2005) analyzes the thought underlying the imperial legal code. Was the concept of the Mandate of Heaven merely a tool manipulated by the ruling elite to justify state power, or was it essential to their belief system and to the intellectual foundation of legal culture? What role did law play in the imperial effort to carry out the social reform programs? Jiang addresses these questions by examining the transformative role of the Code in educating the people about the Mandate of Heaven. The Code served as a cosmic instrument and moral textbook to ensure “all under Heaven” were aligned with the cosmic order. By promoting, regulating, and prohibiting categories of ritual behavior, the intent of the Code was to provide spiritual guidance to Chinese subjects, as well as to acquire political legitimacy. The Code also obligated officials to obey the supreme authority of the emperor, to observe filial behavior toward parents, to care for the welfare of the masses, and to maintain harmonious relationships with deities. This set of regulations made officials the representatives of the Son of Heaven in mediating between the spiritual and mundane worlds and in governing the human realm. This study challenges the conventional assumption that law in premodern China was used merely as an arm of the state to maintain social control and as a secular tool to exercise naked power. Based on a holistic approach, Jiang argues that the Ming ruling elite envisioned the cosmos as an integrated unit; they saw law, religion, and political power as intertwined, remarkably different from the “modern” compartmentalized worldview. In serving as a cosmic instrument to manifest the Mandate of Heaven, The Great Ming Code represented a powerful religious effort to educate the masses and transform society.