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The Cornucopian Stage
Performing Commerce in Early Modern China
Ariel Fox
Harvard University Press, 2023

The long seventeenth century in China was a period of tremendous commercial expansion, and no literary genre was better equipped to articulate its possibilities than southern drama. As a form and a practice, southern drama was in the business of world-building—both in its structural imperative to depict and reconcile the social whole and in its creation of entire economies dependent on its publication and performance. However, the early modern commercial world repelled rather than engaged most playwrights, who consigned its totems—the merchant and his money—to the margins as sources of political suspicion and cultural anxiety.

In The Cornucopian Stage, Ariel Fox examines a body of influential yet understudied plays by a circle of Suzhou playwrights who enlisted the theatrical imaginary to very different ends. In plays about long-distance traders and small-time peddlers, impossible bargains and broken contracts, strings of cash and storehouses of silver, the Suzhou circle placed commercial forms not only at center stage but at the center of a new world coming into being. Here, Fox argues, the economic character of early modern selfhood is recast as fundamentally productive—as the basis for new subject positions, new kinds of communities, and new modes of art.

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The Monkey and the Inkpot
Natural History and Its Transformations in Early Modern China
Carla Nappi
Harvard University Press, 2009

This is the story of a Chinese doctor, his book, and the creatures that danced within its pages. The Monkey and the Inkpot introduces natural history in sixteenth-century China through the iconic Bencao gangmu (Systematic materia medica) of Li Shizhen (1518–1593).

The encyclopedic Bencao gangmu is widely lauded as a classic embodiment of pre-modern Chinese medical thought. In the first book-length study in English of Li’s text, Carla Nappi reveals a “cabinet of curiosities” of gems, beasts, and oddities whose author was devoted to using natural history to guide the application of natural and artificial objects as medical drugs. Nappi examines the making of facts and weighing of evidence in a massive collection where tales of wildmen and dragons were recorded alongside recipes for ginseng and peonies.

Nappi challenges the idea of a monolithic tradition of Chinese herbal medicine by showing the importance of debate and disagreement in early modern scholarly and medical culture. The Monkey and the Inkpot also illuminates the modern fate of a book that continues to shape alternative healing practices, global pharmaceutical markets, and Chinese culture.

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Pictures and Visuality in Early Modern China
Craig Clunas
Reaktion Books, 2005
Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures.

Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
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front cover of Pictures and Visuality in Early Modern China
Pictures and Visuality in Early Modern China
Craig Clunas
Reaktion Books, 2005
Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures.

Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
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Qing Colonial Enterprise
Ethnography and Cartography in Early Modern China
Laura Hostetler
University of Chicago Press, 2001
In Qing Colonial Enterprise, Laura Hostetler shows how Qing China (1636-1911) used cartography and ethnography to pursue its imperial ambitions. She argues that far from being on the periphery of developments in the early modern period, Qing China both participated in and helped shape the new emphasis on empirical scientific knowledge that was simultaneously transforming Europe—and its colonial empires—at the time.

Although mapping in China is almost as old as Chinese civilization itself, the Qing insistence on accurate, to-scale maps of their territory was a new response to the difficulties of administering a vast and growing empire. Likewise, direct observation became increasingly important to Qing ethnographic writings, such as the illustrated manuscripts known as "Miao albums" (from which twenty color paintings are reproduced in this book). These were intended to educate Qing officials about various non-Han peoples so that they could govern these groups more effectively.Hostetler's groundbreaking account will interest anyone studying the history of the early modern period and colonialism.
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Sensuous Surfaces
The Decorative Object in Early Modern China
Jonathan Hay
Reaktion Books, 2010
With Sensuous Surfaces, Jonathan Hay offers one of the most richly illustrated and in-depth introductions to the decorative arts of Ming and Qing dynasty China to date. Examining an immense number of works, he explores the materials and techniques, as well as the effects of patronage and taste, that together have formed a loose system of informal rules that define the decorative arts in early modern China.
           
Hay demonstrates how this system—by engaging the actual and metaphorical potential of surface—guided the production and use of decorative arts from the late sixteenth century through the middle of the nineteenth, a period of explosive growth. He shows how the understanding of decorative arts made a fundamental contribution to the sensory education of China’s early modern urban population. Enriching his study with 280 color plates, he ultimately offers an elegant meditation, not only on Ming and Qing art but on the importance of the erotic in the form and function of decorations of all eras. 
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Testing the Literary
Prose and the Aesthetic in Early Modern China
Alexander Des Forges
Harvard University Press, 2021

The civil service examination essay known as shiwen (modern or contemporary prose) or bagu wen (eight-legged essay) for its complex structure was the most widely read and written literary genre in early modern China (1450–1850). As the primary mode of expression in which educated individuals were schooled, shiwen epitomized the literary enterprise even beyond the walls of the examination compound. But shiwen suffered condemnation in the shift in discourse on literary writing that followed the fall of the Ming dynasty, and were thoroughly rejected in the May Fourth iconoclasm of the early twentieth century.

Challenging conventional disregard for the genre, Alexander Des Forges reads the examination essay from a literary perspective, showing how shiwen redefined prose aesthetics and transformed the work of writing. A new approach to subjectivity took shape: the question “who is speaking?” resonated through the essays’ involuted prose style, foregrounding issues of agency and control. At the same time, the anonymity of the bureaucratic evaluation process highlighted originality as a literary value. Finally, an emphasis on questions of form marked the aesthetic as a key arena for contestation of authority as candidates, examiners, and critics joined to form a dominant social class of literary producers.

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