Placing Heaven, Earth, and Man: Lü Fu's Map and Writing

193525-Thumbnail Image.png
Description
This dissertation contextualizes Lü Fu’s (1671-1742) Diagram of the Three Realms Unified and Popular Exposition of Twenty-One Histories in the book culture of the Qing (1644-1911). Through close examinations of Lü Fu’s works, I illustrate that his mapmaking and writing…

This dissertation contextualizes Lü Fu’s (1671-1742) Diagram of the Three Realms Unified and Popular Exposition of Twenty-One Histories in the book culture of the Qing (1644-1911). Through close examinations of Lü Fu’s works, I illustrate that his mapmaking and writing are driven by the central theme of placing and directing the self in the temporal and spatial world. His map is not just an illustration of the spatial construction of the physical world but also a text that “maps out” historical knowledge and Confucian ethics to help readers navigate the moral universe. His mapmaking sheds light on the interpretation of premodern Chinese maps and contributes to contemporary discussions of maps by opening up new possibilities for understanding them. Lü Fu’s popular exposition on the history of previous dynasties mirrors his map in intriguing ways, suggesting a deliberate interplay between the two. The all-encompassing nature of his works also suggests that he self-consciously explores the potential of both map and yanyi. He makes the popular exposition accessible to the general public by offering them the essential knowledge they should possess through various methods, especially self-publishing. His invention of an innovative printing technique, clay block printing, provides a window into the complexity of eighteenth-century printing culture.
Date Created
2024
Agent

Surveilling All-Under-Heaven: The Rites of Summoning for Interrogation (Kaozhao fa 考召法) in Medieval China

193477-Thumbnail Image.png
Description
This dissertation examines the development of a singular ritual tradition—the “rites of summoning for interrogation” (kaozhao fa考召法)—from its earliest traces during the Han (2nd century CE) to its full-flowering as a ritual specialty by the end of the Tang (618–907)…

This dissertation examines the development of a singular ritual tradition—the “rites of summoning for interrogation” (kaozhao fa考召法)—from its earliest traces during the Han (2nd century CE) to its full-flowering as a ritual specialty by the end of the Tang (618–907) by drawing upon both esoteric Daoist texts as well as anecdotal materials from the period. Practitioners of this tradition, termed “Ritual Masters of Summoning for Interrogation” (kaozhao fashi), identified as constituents of a larger celestial surveillatory bureaucracy and drew upon its authority to cure disease, exorcize spirits, mend rifts in the community, and even determine marriage compatibility. They did so by utilizing a range of ritualistic practices drawn from the earlier Celestial Master (Zhengyi 正一) and Upper Purity (Shangqing 上清) traditions, such as visualizations, incantations, ritualized pacing, and the talismanic arts. Such practices became widespread in the Song dynasty (960–1279) and were broadly adapted by Daoist movements of the period such as the Orthodox Methods of the Celestial Heart (Tianxin zhengfa 天心正法. In Chapter 1, I trace the origins of kaozhao back to the Han, where they—along with similar exorcistic traditions—drew inspiration from the bureaucratic argot and juridical stylings of officialdom. In Chapter 2, I posit a timeline for the development of kaozhao through the examination of ritual registers and situate the practice in context of the ritual landscape of 8th century China. Chapter 3 details the construction of the kaozhao practitioner’s identity, lineage, and history in the pages of a Tang-era ritual manual, the Jinsuo liuzhu yin 金鎖流珠引. This text provides the earliest categorization of kaozhao—dividing it into a binary of “civil” (wen 文) and “martial” (wu 武) practices—the combination of which were required to attain a new form of communal transcendence called “raising the residence” (bazhai 拔宅). Finally, I demonstrate how the kaozhao rite of “patrolling” (xunyou 巡遊), located therein, recast practitioners as celestial equivalents of the itinerant surveillance commissioners of the Tang, broadening their mandate as ritual polymaths.
Date Created
2024
Agent

Space of Imagination, Beauty, and Romance: Yuan Sanqu’s Representation of Female Imagery of the Pleasure Quarters

161795-Thumbnail Image.png
Description

This dissertation explores the representation of female imagery associated with the Yuan pleasure quarters by examining a reservoir of Yuan sanqu. Previous scholarship has studied this topic using either historical material or zaju drama texts but has more or less…

This dissertation explores the representation of female imagery associated with the Yuan pleasure quarters by examining a reservoir of Yuan sanqu. Previous scholarship has studied this topic using either historical material or zaju drama texts but has more or less ignored the voluminous corpus of sanqu. Furthermore, scholarly inquiries of Yuan sanqu either have emphasized its development from the Song ci lyrical tradition or its colloquial features. In consequence, the complexity of sanqu as an independent literary genre has been neglected. Using the representation of female imagery of the pleasure quarters in Yuan sanqu as an entry point, on one hand, this dissertation examines the dynamics of this urban and textual space. On the other, it focuses on rarely-studied sanqu pieces and analyzes them in a new light. The pleasure quarters and the production of Yuan sanqu are closely related to each other. In particular, the pleasure quarters are both revealed through the creative process of sanqu and have established sanqu as a distinctive aesthetic experience. The first chapter will focus on women of the pleasure quarters from the perspective of their hierarchical distinctions in terms of beauty, performative nature, and desirability as companions. Chapter two discusses the representation of women of the pleasure quarters in Yuan sanqu. Distinctive from the exclusive focus on privileged outstanding courtesans in poetic and lyrical tradition, Yuan sanqu depicted women from different registers of pleasure quarters. Thus, the genre formulated a diverse picture of images, rhetoric, and modalities. Chapter three examines a major literary tradition mainly sustained by the Yuan sanqu tradition, which is the story of Shuang Jian and Su Xiaoqing. As one of the most important and widespread literary traditions at play during the Yuan, Yuan sanqu writers’ representation of this pleasure-quarters-based story manifests the fulness and diversity of Yuan sanqu as a distinctive literary genre. In the epilogue, I focus on a zaju script by Ma Zhiyuan and an anonymous song suite in relation to this story. By so doing, I intend to show how Yuan qu lyrics incorporated the poetic, lyrical, and dramatic traditions in a somewhat promiscuous way.

Date Created
2021
Agent
Subscribe to West, Stephen H